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In 1963, Cassius Clay fights Henry Cooper at Wembley Stadium in London. Arrogant and overconfident, Clay plays with his opponent and is knocked to the mat when Cooper lands a surprise punch. At the Copacabana in New York City, soul singer Sam Cooke suffers through a humiliating performance in front of a cold, all-white audience.
Returning home to Georgia, NFL player Jim Brown is warmly received by family friend Mr. Carlton on a vast plantation estate. Carlton ladles praise on “the great Jim Brown,” but when Brown kindly offers to help Carlton move some furniture, he casually informs Brown that they “don’t allow niggers in the house.” Elsewhere, Malcolm X returns home from a meeting and nervously discusses his plans to leave the Nation of Islam with his wife, Betty.
Months later on February 25, 1964, the men are all in Miami for Clay’s title bout against Sonny Liston. Malcolm meets with Clay in a hotel room before the fight, and the two pray in a traditional Islamic fashion. Their conversation reveals that, after the fight, Clay will announce publicly he has joined the Nation of Islam. That night, Brown is a ringside commentator and Cooke and Malcolm are in the crowd as Clay upsets Liston, making him the world heavyweight champion.
Afterward, Malcolm invites the other three men to his motel room. The men arrive in high spirits, but their hopes of a party are dashed when the teetotaling Malcolm makes it clear they are the only ones he invited. He wants to spend some time reflecting on their collective accomplishments, but tension between him and Cooke arises immediately.
Malcolm is uncomfortable with how he thinks Cooke has sold out the black community by pandering to white audiences, and Cooke refuses to feel guilty for his success. Clay informs the men of his plans to announce his conversion to the Nation of Islam, causing more tension. In further conversation, Brown discusses his plans to become a film actor, and wonders if his transition from football to Hollywood will go smoothly.
As the evening progresses, the verbal conflict between Malcolm and Cooke escalates. Malcolm harshly ridicules the bland, feel-good music Cooke has produced since finding mainstream success. Cooke insists his business success and creative autonomy is itself an inspiration to the black community, and while he still cares about the black struggle in America, protest music is not commercially viable. Malcolm confronts him with the recent success of Bob Dylan’s Blowin’ in the Wind and wonders why a “white kid” from Minnesota can find an audience for social commentary but Cooke cannot.
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