THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Friday, September 1, 1995 TAG: 9509010052
SECTION: DAILY BREAK PAGE: E9 EDITION: FINAL
TYPE: Movie Review
SOURCE: BY MAL VINCENT, MOVIE CRITIC
LENGTH: Medium: 74 lines
THE LOOSELY structured ``documentary'' called ``The Show'' is filmed from the inside looking out. Aimed directly at hip-hop fans, it offers little history, explanation or record of the musical phenomenon it so casually explores.
The title is a misnomer because those who expect a concert movie will be thwarted. While there are random bits from a show staged in Philadelphia specifically for this film, there is a good deal more backstage talk.
The film is, more than anything else, an ad for the soundtrack album. Local fans moaned audibly when some of the rap sessions were interrupted for more talking heads.
Those who go looking for a direct link between rap and the urban ghetto experience may be puzzled. Like country artists, the million-dollar rap performers try hard, but not always credibly, to maintain their link with the hard life. Time after time, we hear them saying that they represent what's going on in the streets. What we see in concert, however, suggests that what's going on in the streets is a bunch of performers urging people to wave their arms in the air.
Hip-hop may be a fairly recent phenomenon, but the movie suggests that there already is a generation gap. Those who claim street smartness decry the newcomers as ``soft rhymers'' who lack the hard edge. Others are accused of merely imitating the ``gangsta'' style to sell records.
Occasional tour-bus arguments, bickering with cameramen and one group that tells a star to shut up are hardly shocking enough to match, say, the machinations of the Madonna documentary ``Truth or Dare,'' a treatment that was edited similarly to this one.
There are several noticeable omissions. Public Enemy, arguably the most ground-breaking rap group in the movement, is mentioned only in off-camera reference. The much-publicized political attacks on the hip-hop movement are given little attention.
Russell Simmons, impresario force behind Def Jam Recordings, talks about making money and points out that success for many of the stars is ``a green light to hell.'' Dr. Dre says that it is ``a way out.'' A member of Naughty By Nature says that his fame is good because if he weren't a rap star, he'd be robbing folks or ``slapping your kids side the head.''
On the more humorous side, there is a panel discussion on the origin of ``yes, yes y'all'' as an argument develops over which MC first used it. In a visit to Japan, the rappers are cooled by the hotness of their fans there. The suave Warren G acknowledges the many women who follow him around.
The obscenity-laden vocals are all but indiscernible on a soundtrack that is none too well recorded. (If you can't understand the lyrics before this movie, don't expect to understand them any better from this hearing. The Motion Picture Association, however, understood enough to give it an R rating).
Director Brian Robbins, a former TV sitcom actor and veteran of ``Head of the Class,'' apparently made no effort to get real insight from his subjects. His camera wanders and is often out of focus.
This film would have, perhaps, been a bit more revealing five years ago.
True fans might be better advised to go straight for the album, minus all the talking heads. ILLUSTRATION: Graphic
MOVIE REVIEW
``The Show''
Cast: Dr. Dre, Tha Dogg Pound, the Notorious B.I.G., Warren G,
Naughty By Nature, Snoop Doggy Dogg, LL Cool J, Run DMC
Director: Brian Robbins
MPAA rating: R (language, drugs)
Mal's rating: Two stars
Locations: Circle 4, Main Gate in Norfolk
by CNB