Clarke Peters in Spike Lee's Red Hook Summer: Spiritual Blackout in the Valley of the Shadow of Death

"For such are false apostles, deceitful workers, transforming themselves into the apostles of CHRIST. And no marvel; for Satan himself is transformed into an angel of light.Therefore, it is no great thing if his ministers also be transformed as the ministers of righteousness; whose end shall be according to their works."
2 Corinthians 11:13-15

"When you look into an abyss, the abyss also looks into you." -- Frederick Nietzsche

I'm just going to cut to the chase.

Clarke Peters should not only be nominated for an Academy Award for Best Actor, for his bravura interpretation of a conflicted man-of-the-cloth in Spike Lee's gut-wrenching Red Hook Summer, but Clarke Peters should win. Hands down, his portrayal of the complex, multi-layered preacher man Bishop Enoch Rouse, is by far, one of the most virtuosic, skilled, and almost preternatural performances I have ever seen on film.

Ever.

I say that having been previously awed by the following: Denzel Washington in both Malcolm X and Training Day, Daniel Day Lewis in There Will Be Blood, Al Pacino in Godfather II, Michael Wright in Sugar Hill and The Five Heartbeats, Wesley Snipes in New Jack City and Sugar Hill, Burt Lancaster in Elmer Gantry, Gena Rowlands in A Woman Under the Influence, Dirk Borgart in Servant, Diahann Carroll in Claudine, Simone Signoret in Room at the Top, Morgan Freeman in Street Smart, Tom Cruise in Magnolia, Jane Fonda in Klute, and Sir Laurence Olivier in The Entertainer.

These are a few of the actors and performances that looped in the screening room between my ears, long after the end credits disappeared.

Still, I haven't seen anything quite like what Clarke Peters created for Red Hook Summer. Of course, it helps that Peters was directed by Spike Lee, who, despite the firebrand label attached to him (and sometimes, rightly so for the right reasons), is one of the greatest filmmakers America has ever produced. James McBride is a screenwriter above and apart; he and Spike's screenplay is a Rorschach-blot-of-a-character study; a man who is a force-of-one against himself. Bishop Enoch Rouse is a lost soul searching for the sacred needle in the profane haystack of his existence.

Spike Lee cultivates some strong performances from his entire cast; Jules Brown as Flik, the pre-teen Nietzsche who hates GOD for taking the life of his dad in Afghanistan, while trying to suss out his preacher grandfather (Clarke's Bishop Enoch) and life's absolutes in the screen of his iPad 2; Nate Parker as Box, the neighborhood thug who terrorizes Bishop Enoch and Flik, while ice-grilling his imaginary hip hop career in the cruel summer of his vicious discontent; Toni Lysaith and Heather Simms as mother and daughter Morningstar, trying to hold it down and hold it together in the Red Hook Projects, pasting over their shared grief of a lost family member, with the spiritual epoxy of Bishop Enoch's Little Heaven Church; the always comically profound Thomas Jefferson Byrd, as Deacon Zee, a man who sees Wall Street dreams floating around bottom of a bottle of hard brown liquor; Colman Domingo as Blessing Rowe, the haunted messenger of a horrific plot twist you may never forget.

Yes there is a plot twist, and it's one I won't reveal here. And there are signposts and people from previous Spike Lee Joints that you should discover on your own. I have read some of the reviews on Netflix (yes, Red Hook Summer is streaming on Netflix; they are stepping up their game), and they -- like other critics -- have bemoaned that Spike skips over important plot points. Not true; Spike Lee's films are analogous to the works of great French directors like Louis Malle or Agnes Varda, or even the paintings of Basquiat, Bacon or Picasso. The cognitive power of the story/meaning begins to pull focus in the second and third screening.

That's what real art is supposed to do; take root and blossom inside your head.

It wasn't until my second viewing of Red Hook Summer, that I heard Clarke Peters's Bishop Rouse lament, "My own father didn't love me," and in another scene, "Sometimes... I don't even like myself." Listening to the tearfully sonorous rasp of Peters's dramatic basso profondo, there is a hint of several generations roiling in the muted shame of unspeakable atrocities. Which made the plot twist not only disgustingly real, but plausible.

However, it's Peters's explosive performance that brings this film alive. His body language speaks to a manic depressive flux of reactions, from rock bottom despair, to penultimate joy. Framed like a High-Baroque painting in 5D, by the sharp cinematography of Kerwin DeVonish, Clarke Peters's smooth mahogany face mirrors a grotesque mask of emaciated beauty; an open window to a very divided soul. Indeed, in the final moments of the film, when Box and his beat-down boys silently walk up behind Bishop Rouse in prayer at the altar, it's staged like a tableau of Red Hook's Sanhedrin about to administer judgment to a false Christ. I was reminded of Guido Reni's crucifixion painting from 1640, Ecce Homo ("Behold the Man").

It is integral to the plot, that almost two-thirds of Red Hook Summer takes place in the confines of Bishop Rouse's Little Heaven church.

The church is the building where Bishop Enoch Rouse hoped his soul would take flight from the transgressions of the past. The church is the building where Bishop Rouse has a vision of a parishioner's bountiful donation, but in actuality, it's the curse of a waking nightmare from which Rouse cannot escape. The church is the building where Rouse's inner conflict extinguishes his inner light as it blankets his inner man in the shadow of death. For Bishop Enoch, the church became not only his sanctuary, but his God, replacing the GOD of the Bible. A Bible Rouse carelessly tosses around the pulpit like a Truth too hot to hold.

Clarke Peters embodies an unforgettable character in Red Hook Summer, a Spike Lee film that I hope is not overlooked by the Academy Awards. Red Hook Summer -- along with Ken Burns's The Central Park Five, and Ava Duvernay's Middle of Nowhere, in a three way tie -- gets my vote for the Best Film of 2012. Peters as Bishop Enoch Rouse is a frighteningly evil man, and all the more so, because on the surface he is kind, quiet and gentle. A man who is not what he appears to be. A man who may garner your sympathy at the end of the film.

Or maybe he won't.

Bishop Enoch Rouse is a man who is devoured by appetites he could not control, an appetite that swallows him in his own abyss. An abyss that weighed Bishop Enoch's good intentions in the balance of the thoughts and intents of his twisted heart. And like King Belshazzar -- who asked Daniel to interpret his nightmare in Daniel 6 -- Bishop Enoch Rouse has been found wanting and empty.

Red Hook Summer is a disturbing and brave masterpiece. Clarke Peters deserves an Oscar, because he was directed into delivering an indelible performance by one of the most prolific American filmmakers in the last two decades; Spike Lee. Spike is a dude that -- contrary to a few online cinephiles immolating in the smoke and mirrors of their own matchbox pedantry -- has not fallen off like a bad bag of dope. On the contrary, Spike Lee has raised his level of play, just like his beloved Knicks. He still got game .