‘Straight Outta Compton’ traces rise of rapper N.W.A. with humanity and dramatic power
– FILM REVIEW –
By Cate Marquis –
“Straight Outta Compton” traces the rise of early rappers N.W.A. and the hip hop music genre, with a focus on these young men’s humanity and with a nod to the present post-Ferguson world. This film could not have been released at a better moment. The strength of it is in how it presents these young men and their story, and it is a remarkable film with both an engrossing story and social significance, under skilled direction by F. Gary Gray and with a strong cast.
Stories about an American kid who rises from poverty, fights his way out of the ghetto with ambition and talent, and finds success used to be common in American movies, going back to “The Jazz Singer.” But those classic American Dream stories were usually about white kids, often immigrants or the children of immigrants, who overcame the tough neighborhoods where they were born and the burden of poverty to make themselves something more. “Straight Outta Compton” draws on that familiar classic American Dream story arc to describe the rise of the talented and driven young black men of N.W.A., coming out of the poorest, most violent and drug-ridden neighborhoods of Los Angeles, while telling a grounded, true story about real people at a particular pivotal moment in American culture.
“Straight Outta Compton” not only tells the story of these particular artists, but of the rise of hip-hop, the dominate pop music force of the late 20th century, and puts N.W.A.’s story in context of the present. At the same time, this is a dramatic, involving film, with as much entertainment power as any drama needs. Like jazz, movies, rock and roll, and other forms of popular art, rap or hip-hop music was at first regarded as an assault on society. That N.W.A. speaks honestly about the world they see around them, a world filled with violence and injustice, gets them labeled as thugs and a menace to society.
There is no need to be a fan of hip hop, or to know much of its history, to be drawn into this dramatic story. In 1987, four young friends, black teenaged men living in or near one of L.A.’s roughest areas, Compton, are drawn to the new musical/spoken work art form known as rap. Although all have learned to survive in this tough world, these are basically good kids who striving to find a way out of poverty. Only one of them, Eric, known as Eazy E (Jason Mitchell), has a direct connection to the drugs-and-gangs world, where he makes money as a low-level pot dealer. The others are just making music, with lyrics about the world they see around them. With Easy E. applying his business instincts as producer/promoter and writer Ice Cube (O’Shea Jackson Jr., son of the real Ice Cube) providing the rhymes, lead performer Dr. Dre (Corey Hawkins), along with turn-tablists DJ Yella (Neil Brown Jr.) and MC Ren (Aldis Hodge), form a new musical group. N. W. A. quickly draws enthusiastic crowds and loyal fans to dance to their irresistible beats and their raw, angry, real world rhymes. Musical producer Jerry Heller (Paul Giamatti) sees their potential and, as their manager, helps them reach a national audience.
Although the story follows the basic music biopic story arc, the film exceeds those bounds through its powerful, deeply human characterizations. The film also taps into how N.W.A.’s story reflects what is happening in the nation now, with the focus that the “Black Lives Matter” movement is bringing to how black citizens are treated.
The film is wonderfully cast, with actors who not only bear some resemblance to the real people they portray but have the acting skills to elevate the drama in scenes and expand the story to a commentary on life in America for black people. One scene in particular demonstrates the director’s skill in both humanizing the characters and making a point. The recording artists are taking a lunch break and standing on the sidewalk outside the studio, chatting and kidding around, until, eventually, passing police stop and harass them for simply being there. In the hands of another director, the police would have shown up immediately and acted like two-dimensional symbols. Instead, the scene has the feel of reality, with pacing that allows us to see the humanity on both sides – of the young working artists innocently taking a break and suddenly harassed for no reason, and the frightened, confused cops reacting to a situation they do not comprehend. Casting a black man as one of the cops was an inspired move, showing that false assumptions can be based on how someone is dressed is as much as on race. In another scene that turns on cops and social assumptions, a Texas policeman instructs the band, now on tour, before a concert in what they may or may not say or play. The musicians calm react only with an observation on free speech backstage but once on stage, they describe the incident to the audience, then play the “forbidden” song. The scene is beautifully, perfectly constructed and played out for a powerful dramatic impact that speaks volumes on American society.
While the film has the obligatory scenes of wild parties at posh homes, director Grey always makes sure we know these artists are happiest when making music, and that is how they connect best with each other. O’Shea Jackson Jr. is particularly good as Ice Cube, not just because of the resemblance to his father, but due to the fire in his performance. Paul Giamatti is a standout as manager Jerry Heller, a complicated figure that both plays a pivotal role in their success and exploits them for his own gain. Director Grey does a good job in showing the strong, complicated relationship between the manager and Eazy E. One of the film’s best performances is by Jason Mitchell as Eazy E. Mitchell, who does a fabulous job in this central role. R. Marcus Taylor, as producer Suge Knight, also deserves recognition for his performance.
“Straight Outta Compton”is an excellent film, and being released at the perfect moment. It not only outlines the history of an important cultural turning point but sadly underscores how much of the social ills N.W.A spoke about about still remain with us.
© Cate Marquis
