https://www.frontpagemag.com/fpm/2020/10/what-killed-michael-brown-mark-tapson/
In the wake of the violent worldwide protests that followed the death in police custody of black Minneapolis resident George Floyd, it is easy to forget that what created the conditions for all that racial chaos was the 2014 shooting of black Michael Brown by white police officer Darren Wilson in Ferguson, Missouri. Yes, the Black Lives Matter movement began before that, after George Zimmerman’s acquittal for the shooting death of Trayvon Martin. But BLM didn’t pick up steam and acquire national recognition until after Brown. And Zimmerman wasn’t a cop; it was Michael Brown’s death that really galvanized what author Heather Mac Donald called “the war on cops” and created the mythic slogan, “Hands up, don’t shoot,” which the leftist news media promoted in spite of an absence of evidence or witnesses that Brown ever said it.
The brilliant scholar Shelby Steele has now revisited that complex tragedy in a new documentary called What Killed Michael Brown?, written and narrated by Steele, and beautifully directed and filmed by his award-winning filmmaker son Eli. Steele père, you will remember, is the black conservative author of The Content of Our Character and White Guilt: How Blacks and Whites Together Destroyed the Promise of the Civil Rights Era. His film seeks to answer what Steele calls “a daring question, one that a group like Black Lives Matter would forbid: is Michael Brown in any way responsible for his own death?”
What Killed Michael Brown? is grounded by Steele’s calm, thoughtful presence and his almost poetic narration, delivered in a measured, mellifluent voice and backed by a moody, jazz trumpet soundtrack. The film features him strolling down the streets of Ferguson, in his childhood home in Chicago, and in neighborhoods of the black underclass in both cities as he muses about the nature of race, power, and character in America. This is woven in with footage of riots and press conferences, and interviews with white Ferguson residents, local black leaders, and even race hustler Al Sharpton, whom Steele depicts as a self-aggrandizing agitator exploiting black anger.