He got game sex

The Pitch: A convicted felon receives one week of parole to convince his son, the nation's 1 high school basketball prospect, to play for the governor's alma mater. In "He Got Game," when NBA star and first-time actor Ray Allen looks the viewer in the eye and says basketball is "like poetry in motion," he might as well be talking about Spike Lee's filmmaking aesthetic and the fluidity of Barry Alexander Brown's editing. Lee had already made one epic with Denzel Washington in "Malcolm X. Another sports pro turned actor, Jim Brown, plays one of his parole officers, and they keep him on a short leash — or in an electronic ankle tag, as the case may be. Music adds so much to this movie — the soundtrack is by Public Enemy, and it's a good one. Lee also re-contextualizes the classical compositions of Aaron Copland using an unlikely selection such as "Hoe-Down" from the ballet "Rodeo" to bring out the exhilaration of a pick-up game.

When Spike Lee decided to score his basketball drama He Got Game with the music of Aaron Copland , it was an unusually bold move, even for an unusually bold director. Copland's music has always been associated with the American heartland. Of course, Lee is not the first person to connect Copland's music with sports. In fact, Newman was clearly influenced by Copland, as plenty of other film composers for sports films have been as well. Lee wanted to make the point that basketball is as quintessentially American as cowboys, Lincoln, and Copland himself. The opening sequence of the movie shows Americans shooting hoops across the country -- in the 'hood, in the 'burbs, in the Kansas cornfields. Lee's gamble pays off in that it gives He Got Game a sense of universality, underlining the essential humanity of its characters and their experience.

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