What’s most surprising to me about this biopic of seminal late-1980s rap band N.W.A. is that it qualifies for my New Year’s Resolution by having a female co-writer. It’s not surprising in the sense of FINALLY PROVING that women can write rounded and realistic male characters (I jest), but because the women in the film are so peripheral to the story as to be little more than gyrating appendages in music videos (aside perhaps from Eazy-E’s widow Tomica, who’s also a producer on the film). It is, indeed, a very male-centred film about a group of friends and their rise from impoverished backgrounds in LA’s Compton neighbourhood to musical dominance as the progenitors of the ‘gangsta rap’ style. The film’s central players are introduced by on-screen captions, with the three most prominent members of the group being Ice Cube (played by his son, O’Shea Jackson Jr., as an embittered and angry young man), the focused Dr. Dre (Jason Mitchell), and the guy that helps to bring them all together, Eazy-E (Corey Hawkins), who true to his name has a more laidback lifestyle — which is to say, there are plenty of women and drugs involved.
The arc of the film is classic Hollywood biopic — rags to riches, complicated by egos and money — but in focusing its story on black characters, the film already moves some way towards redressing the whitewashing of (musical) history engaged in by other mainstream productions. Indeed, the casting of Paul Giamatti as manager Jerry Heller recalls his almost identical work in a very similar (and far whiter) film about Brian Wilson only a few months ago, and if Love & Mercy seemed to impart a good sense of how its music was made, Straight Outta Compton is most focused on positioning its protagonists within the wider social context of racial discrimination — looping in the Rodney King beating and subsequent riots. However, perhaps even more than that, the film is concerned with the band’s contractual and label disputes, which is where Giamatti’s character comes in, not to mention Suge Knight and his roster of stars (Tupac Shakur pops up briefly, for example).
There are undoubtedly valid criticisms of the rampant chauvinism — which after all in a sense reflects the culture of this era and of these protagonists — and there’s also the not unrelated issue of the way the film occludes some of the characters’ more disturbing history with women, but that’s not really something for me to address. Suffice to say that it’s been written about by black women, whether those involved (Dee Barnes on Gawker.com), or in articles both critical of the film’s representation of women and more lenient (the latter two links from Bitch Magazine). However, for what it is, it’s fantastically accomplished, and as one might expect, it’s the live music scenes which are most compelling. Ice Cube’s anger is not only clearly contextualised, it’s sadly still necessary, which is what gives a song like “Fuck tha Police” so much power even after more than 25 years, meaning that N.W.A.’s music still has plenty to offer to audiences, whatever race they may be.
NEW RELEASE FILM REVIEW
Director F. Gary Gray | Writers Jonathan Herman and Andrea Berloff | Cinematographer Matthew Libatique | Starring O’Shea Jackson Jr., Corey Hawkins, Jason Mitchell, Paul Giamatti | Length 147 minutes || Seen at Picturehouse Central, London, Monday 31 August 2015