(2015) Musical Biography (Universal) O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Neil Brown Jr., Aldis Hodge, Marlon Yates Jr., R. Marcos Taylor, Carla Patterson, Paul Giamatti, Alexandra Shipp, Elena Goode, Keith Powers, Sheldon A. Smith, Keith Stanfield, Cleavon McClendon, Aeriel Miranda, Lisa Renee Pitts, Angela Renee Gibbs. Directed by F. Gary Gray
In the interest of full disclosure, I am not really a fan of rap but then again, I’m not really the target audience. It is hard for someone who grew up in a white collar suburban neighborhood to feel the same rage as someone who grew up in an inner city neighborhood where police harassment is an everyday occurrence as is gang violence and drug abuse. I’m also uncomfortable with the misogyny and homophobia that is often expressed by rappers, and I don’t condone the glorification of the thug lifestyle that they occasionally promote.
That said, it doesn’t mean I don’t respect the music nor the effect it has had culturally. When gangsta rap and N.W.A. exploded on the scene, it had the effect of a cultural atom bomb on not only inner city youth but also on white suburbanites, some of whom feared it as the expression of all their racist stereotypes but also on the younger white suburban kids who embraced hip-hop culture and tried to emulate it, often to the amusement of the hip-hop community (I once heard a rapper sneer as he saw a group of white teen girls listening to Tupac “What do they have to be mad at? Daddy won’t let them borrow the car?”) among others.
There is no denying though that gangsta rap is the result of legitimate grievances felt by the African-American community. Andre Young – a.k.a. Dr. Dre (Hawkins), O’Shea Jackson – a.k.a. Ice Cube (Jackson, the son of the actual Ice Cube) and Eric Wright – a.k.a. Easy-E (Mitchell) – all grew up in Compton, a predominantly poor, black section of Los Angeles. All are witness to the assaults going on in the community against those that live there, both from ultra-violent gang bangers and from the police who are supposed to be protecting them but yet treat all of the residents like criminals. All are angry that nothing is being done about it and that politically speaking, the African-American community is essentially invisible.
They all love hip-hop that is going on then, most of it coming from the East Coast. West Coast rap was then in its earliest stages and when the three of them got together along with MC Ren (Hodge, formerly of the underrated Leverage) and DJ Yella (Brown) there was no denying that there was magic going on. Easy decides that they need to record the songs that they are writing and after early attempts, they secure the services of Jerry Heller (Giamatti) to manage their business affairs but more importantly, open doors. One of the doors that gets opened is to Priority Records, who agree to distribute their Ruthless Records label which includes N.W.A. as well as the D.O.C. (Yates), a friend from their Compton neighborhood.
Then they record Straight Outta Compton, arguably the best rap record ever made. One of the tracks on it, “F**k Tha Police” becomes something of a touchstone for the band’s fans, who feel the same frustration. Of course, the law enforcement community look at it as an attack on them personally and a call to violence against them rather than as an opportunity to look at themselves and institute reforms – an attitude that continues to this day.
The album shoots the band into the national spotlight and becomes a monster success. However, Ice Cube, noting that the contract is not beneficial to the band members, opts to leave the band rather than continue. He starts a successful solo career and trades musical barbs with his former bandmates. After an N.W.A. record without Cube continues their hot streak, Dre is persuaded by his bodyguard Suge Knight (Taylor) to start his own label with him, which becomes Death Row Records, home to legendary acts like Snoop Dogg (Stanfield) and Tupac Shakur.
Easy-E is left with Ruthless and Jerry Heller, and finds his business falling apart. At the same time, his health is failing – the lifestyle of groupies, drugs and parties has led him to contract AIDS. Dr. Dre has become disenchanted with his friend Suge whose tactics of intimidation and violence are against his ethics; he eventually disentangles himself from Knight and starts his own Aftermath label. Rumors begin to swirl that the original N.W.A. is planning a reunion. But given Easy’s health, can it happen quickly enough?
This is as masterful a musical biography as you are likely to see. The portrayals are spot on, particularly Jackson as his dad who looks eerily like Ice Cube circa 1991 and has all the mannerisms down right. Mitchell does maybe the most emotional work as Easy-E, who has the hardest road of the three original members. The scene in which he’s informed of his diagnosis is easily one of the most heart-wrenching of the summer.
Fans of the band will delight in the soundtrack which carries not only the music of the band in question but also of performers on their various labels and performers who were (and are) important to the band members themselves. It’s a primer on early 90s West Coast rap, gangsta rap and hip-hop in general. For many, the movie will be worth it just for the music alone.
&The movie tends to demonize the “villains” of the group’s history (Heller, Knight and law enforcement) while glossing over some of the chinks in the band’s armor – Dre’s notorious incidents of woman battering for example, although since he’s one of the main producers of the film, one can hardly expect the writers to drag out all his dirty laundry.
In that sense, history is written by the winners and while Heller and Knight have both vehemently objected to their depiction in the film, there is no doubt that both had things to answer for in their actions. This is a loud, raucous celebration of N.W.A. and their music but also of their place in cultural history; their music remains relevant even today which is both a testament to their abilities but also an indictment of our own culture which has failed to heed their words and make things better; the Black Lives Matter movement is a direct spiritual descendant of the band which is depressing that it’s still needed.
REASONS TO GO: Gripping story well told. Terrific performances. Informative.
REASONS TO STAY: Doesn’t address some of the darker aspects of the group.
FAMILY VALUES: Lots and lots of cursing. Nudity, sexuality, drug use and a little violence for good measure.
TRIVIAL PURSUIT: Had the largest opening weekend box office ever for a musical biography, beating Walk the Line.
CRITICAL MASS: As of 9/6/15: Rotten Tomatoes: 90% positive reviews. Metacritic: 72/100.
COMPARISON SHOPPING: Biggie and Tupac
FINAL RATING: 8.5/10
NEXT: No Escape