As Sophia places the tray on the bed and sits next to Malcolm, Malcolm asserts, "what's your story?One of them white chicks who can't get enough colored stud, is that what you are?
As Sophia places the tray on the bed and sits next to Malcolm, Malcolm asserts, "what's your story?Tags: Morning Essay ImageryEssay For Management PositionI Need Help On My Math HomeworkUm Computer Science ThesisEssays History Police CorruptionNuclear Power Essay
This is not to say that Sophia represents these characteristics; rather, in the narrative space of the film, these traits cohere around her and serve to describe Malcolm as a function of his proximity to her.
(Stevens 296) As Stevens remarks, Sophia herself may not be a diabolical person, but her symbolic presence informs the current state of Malcolm's "developing consciousness" as corrupt.
 Earlier on in the movie, during a flashback scene "Early years," Malcolm states that his mother married his father because of his dark complexion.
Her mother had been raped by a white man, and thus she wanted to regain back her black heritage for her children.
Consistent with Lee's pattern, Malcolm X appears to utilize female characters in the same way.
Sophia is conceptually linked to Malcolm's flawed consciousness and negative sense of self, while Betty signifies Malcolm's ascension into his enlightened black selfhood.In this way, Sophia is objectified as a tool, a mere "yardstick" in which the viewer may reference.Her role as an object of manipulation is further emphasized based upon Malcolm's treatment of her, particularly in the scene titled "Sophia's story." In this scene, Sophia prepares and serves breakfast to Malcolm, who is propped up in his bed that symbolizes his male throne.In particular, Sophia, Malcolm's white seductress and Betty Shabazz, Malcolm's black wife, are fixtures assembled to fulfill stereotypical roles of white temptress and black domesticity.However, Lee's orientation of female dichotomies, Sophia and Betty, ultimately limits his ability to fully explore and realize the historical depth of Malcolm X.Hooks states, "Like many females in Lee's audience, I have found his representations of women in general, and black women in particular, to be consistently stereotypical and one-dimensional" (555).Supported by a litany of films that back this theory up such as Sexism is the familiar construction that links [Spike Lee's] films to all the other Hollywood dramas folks see., the female characters function as fixed figures positioned to illuminate the evolution of Malcolm X's black masculinity. Stevens, Lee "fuses notions of blackness with his picture of manhood by constructing an idealized femininity that functions most significantly as a prop for masculinity" (294).Moreover, Lee presents women as static polar images, either prostitute or virgin, in order to project an authentic manifestation of Malcolm X's black personhood." He then orders Sophia to "kiss my foot." Sophia obediently kisses Malcolm's foot.In this moment, it is not so much that Sophia genuflects to Malcolm, but that Malcolm's treatment of her reflects a mindset that views Sophia as an object.