Further, Betty is positioned in direct opposition to Sophia's whore-like caricature and embodies the role of virgin.
(see comment by Katherine Prosswimmer) Upon Betty's arrival, Malcolm concurrently transforms into a committed Muslim and responsible husband.
Thus, through the investigation of Sophia and Betty, the limitations of Lee's portrayal of women illustrates how Malcolm X as a dynamic individual is not fully realized.
 Literary scholar bell hooks contends that as a filmmaker, Spike Lee has a unique style that reliably portrays women unilaterally.
Malcolm objectifies Sophia through his commands and body language.
He wishes to manipulate and bend her with hopes of empowering his own sense of self.
 Sophia enters the movie early on during the scene "dancing delirium," packaged as a vivacious blonde.
Malcolm ditches his black girlfriend Laura for the white temptress who coyly draws him across the dance floor with the wiggle of a finger.
This representation makes it appear, as bell hooks claims, "that [Malcolm's] lust for Sophia is solely a response to racism, that having the white man's woman is a way to rebel and assert power" (hooks).
To render Sophia as the "revenge on the white man" not only marginalizes Sophia as a person but limits the full realization of Malcolm's selfhood.