Hustle and Flow Review
by [email protected] (dnb AT dca DOT net)August 16th, 2005
HUSTLE & FLOW
A film review by David N. Butterworth
Copyright 2005 David N. Butterworth
*** (out of ****)
Few of us white-collar types, as we go about the daily grind in our prefab cubes, tapping away on our computer keyboards while trying to placate the irate customer on the other end of the line, can truly appreciate the hard, thankless graft involved managing prostitutes for a living.
As the song says, "You know it's hard out here for a pimp. When he tryin' to get money for the rent. For the Cadillacs and gas money spent. Because a whole lot of bitches [jumpin' ship.]"
And while Craig Brewer's attention-grabbing "Hustle & Flow" isn't primarily concerned with the benefits (read: tax advantages) afforded those shilling the world's oldest profession, it does shed a rough and ready light on said chosen career path. But it's a job with which Memphis-based DJay ("Crash"'s Terrence Dashon Howard) is clearly dissatisfied, especially as he approaches middle age. DJay, with three hookers to handle (one white, another pregnant, and a third nothing but trouble), has his sights set on bigger, better things. The rhythms and rhymes that swamp his head are in need of an outlet; the beats need to be set free.
In time DJay will partner up with a producer (the likeable Anthony Anderson, from "Barbershop" and "King's Ransom") and a "light skinned" musical mixologist (DJ Qualls) and get his one shot at foisting his product off on the eminent, influential rapper known as Skinny Black (Ludacris).
As that other song says, "Look, if you had one shot, or one opportunity to seize everything you ever wanted--one moment--would you capture it or just let it slip?"
Good question.
While on the surface Brewer's film is just another "working stiff makes good" picture, a "Rocky" for the rapper set, it's deeper than that; classier; more vibrant and poetic. That's partly because of the fine ensemble casting and Brewer's deft writing and direction. But it's mostly because of Howard's pivotal performance in the lead. Simply put he's spectacular; mesmerizing. Time magazine said it best-- "A star is born"--and truer words have rarely been spoken. Needless to say Howard's got seven more 2005 projects already in the can!
As for the foul criers out there who have predictably dismissed the film as misogynistic I actually found the male/female relationships in the film mostly understanding, even touching, especially between DJay and the expectant Shug (Taraji P. Henson, with eyes as big as her prosthetic belly). Even Nola (Taryn Manning), DJay's most profitable trick (she's white), displays a solidity of mind and body that is brought to bear fruit late in the proceedings when she hustles her boss's demo tape to the local radio stations. Rarely, I suspect (from my afore-mentioned whitewashed and blinkered cubicle that is), is there anything approaching mutual respect between pimp and prostitute yet "Hustle & Flow" genuinely attempts to articulate the fact that, given the right circumstances and the right personalities, there could be.
"Hustle & Flow" is tough, funny, and poignant. It hustles *and* it flows. And it brooks no musical arguments--I defy anyone not to leave the theater scanning "It's Hard Out Here for a Pimp," or thumping out the assured grooves of "Whoop That Trick."
I did. And my cubicle's about as white-walled as they come.
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David N. Butterworth
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Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
