Before you can understand "krumping" and "clowning," you've got to understand the history and people of South Central Los Angeles. Director David LaChapelle opens his documentary, Rize, with news footage and images from the 1965 Watts riots and the 1992 Rodney King riots. Out of the violence and hate came Tommy the Clown, the hip-hop clown who got kids to stop fighting and start dancing. These "clown groups" gave kids an alternative to gang life. Clown dancing grew, expanded, and evolved into an entirely new form of dance "krumping." It may look aggressive and violent, but it's pure release, expression, and art. When LaChapelle shows footage of African tribal dancing, one can't help but see the resemblance to "krump" dancing, from the quick and deliberate body movements to the face paint, as if that dancing was in their blood. Rize gives these dancers something the rest of society has long denied them dignity and respect. See this one.
46 Reviews
Textbook for Life
jmbwithcats19 August 2005
We need movies like this. we need to allow ourselves to be touched.
So we can learn to be human beings, people need to learn to be humane to each other. Forget gender, forget color, forget beliefs, we all human underneath, we all drown, we all bleed, we all are scared, we all want to express ourselves, and we all deserve that respect.
Learn to give that to everyone you meet. You might never see them again.
I feel privileged these people shared their lives with me. We can learn so much from what the people in this documentary are sharing with us about community, and culture, and humanity.
So we can learn to be human beings, people need to learn to be humane to each other. Forget gender, forget color, forget beliefs, we all human underneath, we all drown, we all bleed, we all are scared, we all want to express ourselves, and we all deserve that respect.
Learn to give that to everyone you meet. You might never see them again.
I feel privileged these people shared their lives with me. We can learn so much from what the people in this documentary are sharing with us about community, and culture, and humanity.
Exhilarating Paean to the Human Spirit and Artistic Expression
noralee22 July 2005
"Rize" rises above anthropological curiosity to be an exhilarating paean to the human spirit.
It is parallel to "Bastards of the Party" in noting how devastating gang violence, drugs and poverty have been to the social structure of African-Americans living in South Central Los Angeles and how young people desperately seek alternative families for emotional support. But debut director David LaChapelle (and a graduate and proponent of arts education programs) documents the power of artistic expression in literally saving souls and lives, here through a spontaneously indigenous, organized form of hip hop dancing.
It is "Amazing Grace" acted out before our eyes as this is self-help, bootstraps up through specifically African-American Christian culture that grew out of birthday party celebrations, going from clown dancing to crumping.
I was thinking of "A Chorus Line"'s refrain of "Everything was beautiful at the ballet" of girls escaping dysfunctional families even before these hyper-articulate entertainers point out that there are no ballet classes available to them, or any after-school activities for kids not interested in football or basketball so they made the choice to dance with organized groups, first in informal than structured competitions.
No white talking head experts are needed in this film, though it is not clear how much influence LaChapelle had over the participants' self-awareness over the three years he was making the film, as we only hear his voice a couple of times asking questions, usually of their mothers. For example, L'il C says such dancing is "in our blood" -- but is that after LaChapelle showed them the footage of African ritual dancing that they had never seen before -- and it is a bit disconcerting that of all the footage he could have selected he uses material from the Leni Riefenstahl archives. Ethnomusicologist Nick Spitzer of Public Radio's American Routes show could certainly teach them all something about the recurring phenomenon in the African diaspora of similar competitive "families" created around dancing and costumes or make-up, including the samba clubs in Brazil, the Mardi Gras "Indians" of New Orleans and the carnival crews of the Caribbean.
LaChappelle carefully introduces us to the participants as dancers and individuals before we know more about their difficult pasts and home lives, as these are young people who had to grow up too fast and are lucky to have survived, even as they can't avoid the neighborhood's random violence. We also see that these are the kind of individuals who are naturally nurturing and mentor-seeking, as one explanation of how they sought out the arts and why dance speaks to them as a mechanism to work out their emotions.
The sound track assiduously avoids degrading commercial hip hop selections for songs that reflect the spirit of the dancing, as the participants resoundingly note the independence of their culture from corporate forces.
While the story line wanders a bit after the climactic Battle Zone, LaChappelle forcefully links the the dancing to Pentecostal and Baptist gospel traditions for the life affirming conclusion. The closing shots of how it has spread outside the African-American community aren't entirely convincing.
LaChappelle can't resist some artsy music video type shots of beautiful, glistening bodies by the ocean, but that does serve to emphasize their dancing as an aesthetic form, even as the film does go on a bit too long and repetitively.
The interviews on "Charlie Rose" should be included with the DVD as there is no concluding update to learn that some of the participants are now employed professionally as dancers, though we did get a glimpse that Miss Prissy is taking some formal dance training.
Regardless, you do walk out uplifted and feelingly thrillingly positive about life.
It is parallel to "Bastards of the Party" in noting how devastating gang violence, drugs and poverty have been to the social structure of African-Americans living in South Central Los Angeles and how young people desperately seek alternative families for emotional support. But debut director David LaChapelle (and a graduate and proponent of arts education programs) documents the power of artistic expression in literally saving souls and lives, here through a spontaneously indigenous, organized form of hip hop dancing.
It is "Amazing Grace" acted out before our eyes as this is self-help, bootstraps up through specifically African-American Christian culture that grew out of birthday party celebrations, going from clown dancing to crumping.
I was thinking of "A Chorus Line"'s refrain of "Everything was beautiful at the ballet" of girls escaping dysfunctional families even before these hyper-articulate entertainers point out that there are no ballet classes available to them, or any after-school activities for kids not interested in football or basketball so they made the choice to dance with organized groups, first in informal than structured competitions.
No white talking head experts are needed in this film, though it is not clear how much influence LaChapelle had over the participants' self-awareness over the three years he was making the film, as we only hear his voice a couple of times asking questions, usually of their mothers. For example, L'il C says such dancing is "in our blood" -- but is that after LaChapelle showed them the footage of African ritual dancing that they had never seen before -- and it is a bit disconcerting that of all the footage he could have selected he uses material from the Leni Riefenstahl archives. Ethnomusicologist Nick Spitzer of Public Radio's American Routes show could certainly teach them all something about the recurring phenomenon in the African diaspora of similar competitive "families" created around dancing and costumes or make-up, including the samba clubs in Brazil, the Mardi Gras "Indians" of New Orleans and the carnival crews of the Caribbean.
LaChappelle carefully introduces us to the participants as dancers and individuals before we know more about their difficult pasts and home lives, as these are young people who had to grow up too fast and are lucky to have survived, even as they can't avoid the neighborhood's random violence. We also see that these are the kind of individuals who are naturally nurturing and mentor-seeking, as one explanation of how they sought out the arts and why dance speaks to them as a mechanism to work out their emotions.
The sound track assiduously avoids degrading commercial hip hop selections for songs that reflect the spirit of the dancing, as the participants resoundingly note the independence of their culture from corporate forces.
While the story line wanders a bit after the climactic Battle Zone, LaChappelle forcefully links the the dancing to Pentecostal and Baptist gospel traditions for the life affirming conclusion. The closing shots of how it has spread outside the African-American community aren't entirely convincing.
LaChappelle can't resist some artsy music video type shots of beautiful, glistening bodies by the ocean, but that does serve to emphasize their dancing as an aesthetic form, even as the film does go on a bit too long and repetitively.
The interviews on "Charlie Rose" should be included with the DVD as there is no concluding update to learn that some of the participants are now employed professionally as dancers, though we did get a glimpse that Miss Prissy is taking some formal dance training.
Regardless, you do walk out uplifted and feelingly thrillingly positive about life.
In a word, amazing!
kjinla_200027 June 2005
I FELT this movie. I understood it on a cellular level. I'm Afrian American, I'm over 50, and I didn't grow up in a neighborhood like these kids. I had ballet lessons, was a Brownie and a Girl Scout, yada, yada, yada. But I FELT this movie. I understood how and why they danced the way they did. I would have liked to know how the Asian clowns/krumpers got started and if they compete in the dance-offs. The same for the white genexer who felt he belonged with the clowns/krumpers. My hope is that some of these kids will find their way into society. Not every producer/director can feel proud of his or her work. This one can.
Their Space, My Breath
tedg30 June 2006
I suppose there will be great numbers of viewers who will come away from this feeling good. The myth of the movie, pounded over and over, is that the art these kids devote themselves to elevates them, saves them. There are copious extra features on the disk where the same plodding testimony is given: these dancers are true and saved because of it.
I came away deeply disturbed. Deeply. Yes, of course I was impressed with the dancing. Well, not the dancing so much in most cases, but the sheer exuberance, energy and commitment these kids have. Its genuine and no one can fail to be swept up. In fact, I have fallen in love with Miss Prissy. Of everyone you see, she's the deepest; you can see her fearlessness, failure to protect herself. She's Janis Joplin in body. She's also not in any extras, those self-celebratory muggings that base a whole life on how each kid was once captured. She's moved on, and good for her.
If you like dance, or you care for performance, or you celebrate openness, or you are simply interested in cultural discovery, you'll be as entranced as I. So you will be similarly disturbed by the elements of this that contrast with this energy.
The main one is that this is a phenomenon that is wrapped around a myth, which happens to be the myth these kids have (partly) spun themselves. The entire complexity of their lives is given a simple shape that demeans them and insults us. They carefully explain things to the white guys from uptown with the camera in fairly articulate terms. Do you think they have that same story among themselves? Possibly they do in times of crises where they can reduce their life to the church or something similarly simple. But look at the dances; these are full, complex beings pretending to each other occasionally and us all the time that they are something simple.
There was a similar film, "Dogtown and the Z-Boys," from a nearby area. It really was pure. It was made by one of the characters in the midst of the trend. The cinematic style was exactly the same as the radical stuff they were doing on the skateboards. It really was honest, not only in what it showed, but what it was. This, "Rize," is only honest in what it shows, and because it is fabricated and assembled as a film in a sort of whitebread fashion, it makes us question much of what we see.
For instance, toward the end is the dance sequence that made me fall in love with Miss Prissy. A still from it is on the cover of the DVD. It isn't a spontaneous gathering the camera happens upon, it is something carefully constructed for us. Oiled black bodies, splashed water flying in the sunlight. Engineered lighting. Camera placed low with a restricted frame, which means the dancers need to arrange themselves carefully for the effect. Prissy's hair has clearly had some attention other than what we've seen before. The dance moves are terrific, hypnotizing, but quite different than what we've seen before.
This is a show for the camera, designed, not found. The fact that it is what sticks in my mind is what is so disturbing. All that went before with Miss Prissy was to establish her genuiness so that I could appreciate her in this somewhat ungenuine scene. The realization startles; it's a bit like "The Gods Must be Crazy," where the charm of the thing is seeing a simple bushman BE a simple bushman, until you learn that being in that film as a pretend version of himself drove him to suicide.
Though much of it is endearing, some of it is not good dance. Some of it is primitive belligerence, not much different than the gang culture that surrounds them. Some of the dance that seems good is so only because of the editing and the music - that music is ALWAYS added in during editing and is not what they actually danced to. So you hear and see something different than the random, uneven and grunting way it was.
The trick in these things is that you have to know who you are in the story, where you sit as viewer. I don't like the way I'm placed by the filmmaker, as someone whose acceptance of their homegrown art makes them "rise." And I'm not sure I like any of the other alternatives either. So it disturbs when I like what I see but the filmmaker hasn't given me a place, or a way to make a place.
About the dance. I am not a dancer, a watcher instead. For me, dance is deep. Sex is a simple dance, and the fuller dance expands that to the way the body touches everything around it. Dance is how your skin touches the world, my world, the space I rub against.
Some dance is constructive, it shapes space and creates small, turbulent structures that we step into. Nuryeyev.
This is different. These kids grab space, they reach deep into it and swim it closer to them. They expand, their skin dissolving into a blur that partly overlaps the space I call my own. They invade, and it is welcome. Not all of it, but some is. That shared vision that is a movement that is the tingle of living that is the knowing of body.
But, those are just words; I am in love. Prissy, call me.
Ted's evaluation: 3 of 3, worth watching
I came away deeply disturbed. Deeply. Yes, of course I was impressed with the dancing. Well, not the dancing so much in most cases, but the sheer exuberance, energy and commitment these kids have. Its genuine and no one can fail to be swept up. In fact, I have fallen in love with Miss Prissy. Of everyone you see, she's the deepest; you can see her fearlessness, failure to protect herself. She's Janis Joplin in body. She's also not in any extras, those self-celebratory muggings that base a whole life on how each kid was once captured. She's moved on, and good for her.
If you like dance, or you care for performance, or you celebrate openness, or you are simply interested in cultural discovery, you'll be as entranced as I. So you will be similarly disturbed by the elements of this that contrast with this energy.
The main one is that this is a phenomenon that is wrapped around a myth, which happens to be the myth these kids have (partly) spun themselves. The entire complexity of their lives is given a simple shape that demeans them and insults us. They carefully explain things to the white guys from uptown with the camera in fairly articulate terms. Do you think they have that same story among themselves? Possibly they do in times of crises where they can reduce their life to the church or something similarly simple. But look at the dances; these are full, complex beings pretending to each other occasionally and us all the time that they are something simple.
There was a similar film, "Dogtown and the Z-Boys," from a nearby area. It really was pure. It was made by one of the characters in the midst of the trend. The cinematic style was exactly the same as the radical stuff they were doing on the skateboards. It really was honest, not only in what it showed, but what it was. This, "Rize," is only honest in what it shows, and because it is fabricated and assembled as a film in a sort of whitebread fashion, it makes us question much of what we see.
For instance, toward the end is the dance sequence that made me fall in love with Miss Prissy. A still from it is on the cover of the DVD. It isn't a spontaneous gathering the camera happens upon, it is something carefully constructed for us. Oiled black bodies, splashed water flying in the sunlight. Engineered lighting. Camera placed low with a restricted frame, which means the dancers need to arrange themselves carefully for the effect. Prissy's hair has clearly had some attention other than what we've seen before. The dance moves are terrific, hypnotizing, but quite different than what we've seen before.
This is a show for the camera, designed, not found. The fact that it is what sticks in my mind is what is so disturbing. All that went before with Miss Prissy was to establish her genuiness so that I could appreciate her in this somewhat ungenuine scene. The realization startles; it's a bit like "The Gods Must be Crazy," where the charm of the thing is seeing a simple bushman BE a simple bushman, until you learn that being in that film as a pretend version of himself drove him to suicide.
Though much of it is endearing, some of it is not good dance. Some of it is primitive belligerence, not much different than the gang culture that surrounds them. Some of the dance that seems good is so only because of the editing and the music - that music is ALWAYS added in during editing and is not what they actually danced to. So you hear and see something different than the random, uneven and grunting way it was.
The trick in these things is that you have to know who you are in the story, where you sit as viewer. I don't like the way I'm placed by the filmmaker, as someone whose acceptance of their homegrown art makes them "rise." And I'm not sure I like any of the other alternatives either. So it disturbs when I like what I see but the filmmaker hasn't given me a place, or a way to make a place.
About the dance. I am not a dancer, a watcher instead. For me, dance is deep. Sex is a simple dance, and the fuller dance expands that to the way the body touches everything around it. Dance is how your skin touches the world, my world, the space I rub against.
Some dance is constructive, it shapes space and creates small, turbulent structures that we step into. Nuryeyev.
This is different. These kids grab space, they reach deep into it and swim it closer to them. They expand, their skin dissolving into a blur that partly overlaps the space I call my own. They invade, and it is welcome. Not all of it, but some is. That shared vision that is a movement that is the tingle of living that is the knowing of body.
But, those are just words; I am in love. Prissy, call me.
Ted's evaluation: 3 of 3, worth watching
A Vibrant Documentary
blakiepeterson19 June 2015
David LaChapelle, among the most distinctly over-the-top commercial photographers of all time, has made a career out of pushing the boundaries of political correctness and redefining what we view as beautiful, bold, colorful, sexual. His photography, particularly his celebrity portraits, are rich in their frenzied energy; his work can turn even the most untalented of stars (ahem, Paris Hilton) into iconoclasts of the frenetic image. My favorite LaChapelle photo, that of a nude, afroed, and positively beaming Naomi Campbell lying atop a substantial pile of fruit, would seem trashy anywhere else but appears giddy, boundlessly euphoric, even, when lensed by LaChapelle.
He famously left his day job as the most gifted commercial photographer in 2006, dramatically and abruptly, escaping to a secluded Hawaiian paradise in some form of an extended mid-life crisis. After a long break from doing what he thought he loved, he rediscovered himself and became an Andy Warhol post-Factory of sorts, regarding his work more seriously than ever before. So the celebrities, the magazines covers, the elbow- rubbing, came to an end in pursuit of fine art. Now, LaChapelle would much prefer to make a social statement than put Lil' Kim on a crucifix and surround her with nuns for the sake of kitsch. He has directed a number of eye-catching music videos, but 2005's "Rize", a documentary, remains to be his only film. Though much of it is filmed in the same Technicolor, purposely campy ballpark of his other work, "Rize" is a surprisingly mature doc, especially when considering it was headed by the Fellini of photography.
LaChapelle gives us an inside look into the world of krumping, a highly emotional, movement intensive form of dance descended from clowning and perfected in the wake of the 1992 Rodney King riots. Found mostly in inner-city Los Angeles, where crime runs amok and pressure to join gangs is high, krumping is, for its most active participants, a life- saver, a persona defining hobby that gives them a reason to stay off the streets and entertain the public after hours upon hours of lightning paced practice. LaChapelle divides the film into three parts, the first introducing the krumping culture through interviews, the second connecting clowning with the dance in focus, the third climaxing with a thunderous battle of movement between the two rival krumping groups.
One might expect LaChapelle to let his tremendous stylistic abilities gloss over the more spit on the ground realities of "Rize" in favor of startling imagery, but his instantaneous recognizability takes a backseat to the hugely fascinating stories of the krumpers. These are not people who simply like to dance; they were saved by the art form, revitalized by it. Before he invented, or at least, nurtured, the style of krumping, Tommy Johnson, also known as "Tommy the Clown", was a drug dealer who spent five years in prison for his crimes. After his release, he was invited to a child's birthday party in hopes of entertainment — then and there, dressed as a clown, he kicked off a completely new dancing style that took much of Los Angeles by storm following the Rodney King riots. In the years following, he started a business, became a local legend, and took scads of at-risk adults under his wing.
Most inspiring is Christian "Baby Tight Eyez" Jones, who went from an atrociously tragic childhood straight into dancing success — because of krumping, the very idea of following in the footsteps of his deadbeat parents sounded like nightmare fantasy. He was good at something, had fun doing that something, and, in return, became a success in his own right. Jones is only one of the many kids Johnson has supported over the years, and "Rize" takes the time to get to know them. LaChapelle finds a good balance between spectacle and human drama, as willing to highlight remarkable dancing abilities as he is ready to underline the struggles many of his subjects face. As wonderful as krumping is for most of these people, it can hardly mask the harsh truths that overtake so much of the ghetto.
"Rize" is a solid documentary that does what a documentary should; introduce you to something completely new and make you suddenly care about it as though it were always part of your life. Though I wish it was a bit longer (we become invested in the cast), this is an energetically shot, empathetically made film.
He famously left his day job as the most gifted commercial photographer in 2006, dramatically and abruptly, escaping to a secluded Hawaiian paradise in some form of an extended mid-life crisis. After a long break from doing what he thought he loved, he rediscovered himself and became an Andy Warhol post-Factory of sorts, regarding his work more seriously than ever before. So the celebrities, the magazines covers, the elbow- rubbing, came to an end in pursuit of fine art. Now, LaChapelle would much prefer to make a social statement than put Lil' Kim on a crucifix and surround her with nuns for the sake of kitsch. He has directed a number of eye-catching music videos, but 2005's "Rize", a documentary, remains to be his only film. Though much of it is filmed in the same Technicolor, purposely campy ballpark of his other work, "Rize" is a surprisingly mature doc, especially when considering it was headed by the Fellini of photography.
LaChapelle gives us an inside look into the world of krumping, a highly emotional, movement intensive form of dance descended from clowning and perfected in the wake of the 1992 Rodney King riots. Found mostly in inner-city Los Angeles, where crime runs amok and pressure to join gangs is high, krumping is, for its most active participants, a life- saver, a persona defining hobby that gives them a reason to stay off the streets and entertain the public after hours upon hours of lightning paced practice. LaChapelle divides the film into three parts, the first introducing the krumping culture through interviews, the second connecting clowning with the dance in focus, the third climaxing with a thunderous battle of movement between the two rival krumping groups.
One might expect LaChapelle to let his tremendous stylistic abilities gloss over the more spit on the ground realities of "Rize" in favor of startling imagery, but his instantaneous recognizability takes a backseat to the hugely fascinating stories of the krumpers. These are not people who simply like to dance; they were saved by the art form, revitalized by it. Before he invented, or at least, nurtured, the style of krumping, Tommy Johnson, also known as "Tommy the Clown", was a drug dealer who spent five years in prison for his crimes. After his release, he was invited to a child's birthday party in hopes of entertainment — then and there, dressed as a clown, he kicked off a completely new dancing style that took much of Los Angeles by storm following the Rodney King riots. In the years following, he started a business, became a local legend, and took scads of at-risk adults under his wing.
Most inspiring is Christian "Baby Tight Eyez" Jones, who went from an atrociously tragic childhood straight into dancing success — because of krumping, the very idea of following in the footsteps of his deadbeat parents sounded like nightmare fantasy. He was good at something, had fun doing that something, and, in return, became a success in his own right. Jones is only one of the many kids Johnson has supported over the years, and "Rize" takes the time to get to know them. LaChapelle finds a good balance between spectacle and human drama, as willing to highlight remarkable dancing abilities as he is ready to underline the struggles many of his subjects face. As wonderful as krumping is for most of these people, it can hardly mask the harsh truths that overtake so much of the ghetto.
"Rize" is a solid documentary that does what a documentary should; introduce you to something completely new and make you suddenly care about it as though it were always part of your life. Though I wish it was a bit longer (we become invested in the cast), this is an energetically shot, empathetically made film.
A Beautiful, yet underrated master piece!
crazypoohbear69_05011 July 2005
When I saw the "Rize" trailers at first I was afraid that this would be yet another movie depicting the African-American experience through slanted and distorted filters ignorance and the media would have "White America" and the rest of the world believe. After a few minutes though I found that I couldn't have been more wrong.
"Rize" is a wonderful piece of cinematic gold. It shows us what movies can really accomplish. It shows that what makes a movie "good" isn't a "Big budget" rehash of the same mindless drivel Hollywood has shoved down our throats for the past years. But a movie with substance.
If you have read the other reviews and summaries for this movie me telling you about the "plot" or "characters" is a waste of space. Also If you have read the other reviews you will see that quite a few people believe that "Rize" is just "You got Served" with face paint. People who have written this make me believe that they must have been watching a "spoof" on TV or watching commercials, and coming to there own conclusions.
"You got Served" is to the African-American Dance culture as "From Justin to Kelly" is to musicals. YGS was a the same type of group vs. rival group with "mild" drama of a betrayal of a former member that was depicted in "Bring it On" or "Good Burger" and countless other films for the 12-17 age demographic. It was a film mostly for fans to get a last few glimpses of the former music group B2k and leader of the former group immature (or IMX) together for the last time (sort of like "Spice World"). In this since it served its purpose well.
Knowing this you can see that it would be a "closed minded" and "ignorant" person to even link these two movies together. And my advice to those who choose to do so is: To actually see the movies you choose to harshly critique. You may even find that "One of these movies is not like the other" As one is a documentary and the other a "teen flick". Also I have noticed in reviews previous to mine that the movie "Be cool" is mentioned due to its brief "cameo-esque" snippet of the dance style. "Be Cool" was mentioned to be the first discovery of the dance style. This is simply not true, as ONE of the first showings of this dance style can be credited to Missy Elliot in her music video "I'm really Hot".
Another method of discrediting this movie is by attacking the director for just being "Christina's music video director" or a "photographer". Though I can honestly say that I am nor have ever been a fan of Christina Aguilera's work...I certainly do not hold this against Mr. La'Chappelle because unlike most respected and honored directors who turn a blind eye to movies like this because they aren't "Oscar worthy" he stepped in, and in his own artistic and beautiful way shuns the myths and stereotypes that have plagued the African-American people. (Especially young people residing in urban areas and ghettos for no fault of there own are labeled as "thugs" and "gangsta's" are now being known as "Artists" and "Visionaries" due to them turning back to their roots in Africa).
I hope more movies will come out like this and liberate all races from their own stereotypes.
"Rize" is a wonderful piece of cinematic gold. It shows us what movies can really accomplish. It shows that what makes a movie "good" isn't a "Big budget" rehash of the same mindless drivel Hollywood has shoved down our throats for the past years. But a movie with substance.
If you have read the other reviews and summaries for this movie me telling you about the "plot" or "characters" is a waste of space. Also If you have read the other reviews you will see that quite a few people believe that "Rize" is just "You got Served" with face paint. People who have written this make me believe that they must have been watching a "spoof" on TV or watching commercials, and coming to there own conclusions.
"You got Served" is to the African-American Dance culture as "From Justin to Kelly" is to musicals. YGS was a the same type of group vs. rival group with "mild" drama of a betrayal of a former member that was depicted in "Bring it On" or "Good Burger" and countless other films for the 12-17 age demographic. It was a film mostly for fans to get a last few glimpses of the former music group B2k and leader of the former group immature (or IMX) together for the last time (sort of like "Spice World"). In this since it served its purpose well.
Knowing this you can see that it would be a "closed minded" and "ignorant" person to even link these two movies together. And my advice to those who choose to do so is: To actually see the movies you choose to harshly critique. You may even find that "One of these movies is not like the other" As one is a documentary and the other a "teen flick". Also I have noticed in reviews previous to mine that the movie "Be cool" is mentioned due to its brief "cameo-esque" snippet of the dance style. "Be Cool" was mentioned to be the first discovery of the dance style. This is simply not true, as ONE of the first showings of this dance style can be credited to Missy Elliot in her music video "I'm really Hot".
Another method of discrediting this movie is by attacking the director for just being "Christina's music video director" or a "photographer". Though I can honestly say that I am nor have ever been a fan of Christina Aguilera's work...I certainly do not hold this against Mr. La'Chappelle because unlike most respected and honored directors who turn a blind eye to movies like this because they aren't "Oscar worthy" he stepped in, and in his own artistic and beautiful way shuns the myths and stereotypes that have plagued the African-American people. (Especially young people residing in urban areas and ghettos for no fault of there own are labeled as "thugs" and "gangsta's" are now being known as "Artists" and "Visionaries" due to them turning back to their roots in Africa).
I hope more movies will come out like this and liberate all races from their own stereotypes.
Black Expression, Youth Development
nettrice10 July 2005
Krumping, clowning, juking, stepping, go-go dancing, etc. are all derivative of African dance. I once saw a boy from West Africa jerking his body while springing up and down on his feet to the music. This is similar to the dancing in Rize. I enjoyed the film. In fact, I plan on seeing it again before it leaves the theaters. In Rize, krumping and clowning became an expression of sex, anger, need, competition and cultural identity. In the wake of destruction, broken homes, and domestic violence comes dancing that provides a release from these horrors. I loved the fact that many of the dancers turned their back on gangs and found a new outlet for their pent-up frustrations.
Great Movie!
Great Movie!
Rize will lift your mind and move your spirit
IamMovieLover22 June 2005
Tonight I ended up unexpectedly seeing the advance screening of "Rize" today.
My suggestion: When this movie opens on June 24, stop everything and see it at your first opportunity. It is an eye-popping, total delight.
David LaChappel has accomplished a cinematic triumph in filming the true story of the rise of a phenomenal new dance style. The movie is not what you would typically expect. The main characters let you know right away that they have no intention of succumbing to the exploitive commercialization of hip hop with it's guns, violence and persistent misogyny. The filmmaker avoided that tired approach too.
Instead, these amazing young people have invented a way to transform their grief, anger and fears into a vibrant new art form that will make your spirit thump to the beat. They are over-comers who have decided to move beyond surviving to brilliantly thriving against the dire odds of South Central LA.
You will love this story. You will respect these people. You will rave over David LaChappel's stunning, original and immensely entertaining film.
But hey, don't take my word for it. Go and see Rize for yourself. You'll see why Rolling Stone calls this movie "a visual miracle," and why the Sundance crowd was so taken with this movie.
My suggestion: When this movie opens on June 24, stop everything and see it at your first opportunity. It is an eye-popping, total delight.
David LaChappel has accomplished a cinematic triumph in filming the true story of the rise of a phenomenal new dance style. The movie is not what you would typically expect. The main characters let you know right away that they have no intention of succumbing to the exploitive commercialization of hip hop with it's guns, violence and persistent misogyny. The filmmaker avoided that tired approach too.
Instead, these amazing young people have invented a way to transform their grief, anger and fears into a vibrant new art form that will make your spirit thump to the beat. They are over-comers who have decided to move beyond surviving to brilliantly thriving against the dire odds of South Central LA.
You will love this story. You will respect these people. You will rave over David LaChappel's stunning, original and immensely entertaining film.
But hey, don't take my word for it. Go and see Rize for yourself. You'll see why Rolling Stone calls this movie "a visual miracle," and why the Sundance crowd was so taken with this movie.
Rize is a documentary about dancing, clowning, and inner city life
aurora11243 June 2005
Warning: Spoilers
I think Rize was a good attempt in documenting the new dance and Clowning phenomenon in the inner city of Los Angeles. But I found some scenes problematic; there were too many long shots of the group with Miss Prissy in it - they were all great dancers but it was just the extended long shots of them dancing greased up - it took away from the overall message that I believe LaChappelle intended and instead looked like another music video (which is what he usually does). There are a lot of cute scenes with children dancing and Tommy the Clown's story is inspirational, but I just thought that there were some odd aspects of the film that I am not sure if I agree with or not. Like the juxtaposition of them dancing with native African dancing footage...I think it's supposed to be an insightful connection, but it could be an unintentional condescending parallel imagery for some viewers.
Why does everyone love Rize?
littlepirate15 July 2005
Warning: Spoilers
I can tell I'm in the minority here, but I was really aggravated after seeing Rize. I was very excited to see the film after hearing so much about the dancing itself and the social impact of clowning and krumping on kids' lives in L.A. I feel like what could have been a very interesting, enlightening film about inner city youth culture turned out to be little more than a poorly cobbled together mish-mash with flashy flourishes that took away from any resounding impact the film could have had. The film had very little idea of narrative flow and jumped around from point to point haphazardly throughout, but especially towards the end which just about falls apart. In Rize, David LaChappelle criticizes contemporary hip-hop for it's exploitative hyper-sexual consumerism, but then proceeds to spend an excruciatingly long stretch of film showcasing close-ups of the glistening Krumpers greased-up bodies in slow-motion. This sequence is reminiscent of countless commercial hip-hop music videos. The point that Clowning and Krumping is the antithesis to this world is undercut by LaChappelle's desire to make Krumping into some kind of Inner City Abercrombie and Fitch commercial. Given LaChappelle's professional background as a visually talented, but intellectually vacuous photographer, I'm personally surprised that anything socially resonant came from this film. I'm apt to attribute any of the considerable energy and vitality in this film to the dancers, their lives, their strength, and their intelligence.
an intense, original, and completely ecstatic trip in both the cultural and aesthetic dimensions
permafreez26 November 2005
Perhaps imperfect as a neatly tied-up documentary statement, the film raises real contentious questions about ethnic stereotypes, youth, sexuality, and art (kudos for that). But from a purely experiential perspective this is an intense, original, and completely ecstatic trip in both the cultural and aesthetic dimensions. Personally I see nothing compromised or shallow about mixing in a healthy dose of gratuitously beautiful, highly stylized photography for the pure raw aesthetic bliss of it. The film is also quite interesting from an anthropological angle in terms of how the documented phenomenon quickly takes root, consumes these good peoples' identities 24-7, organically grows, divides, mutates, rapidly spans generations and groups, sweeps up even infants who intuitively jack right in to the main line, and seems to strongly channel ancient ancestral rites straight into South Central, where it weaves a crazy web of hope and ecstatic optimism through the beleaguered community like beautiful wildflowers in a cracked asphalt lot. I may just have to start wearing my clown outfit to the office in tribute, but I guess I should work on my moves first. For that I suppose I'll just have to wait for the inevitable krumping class at my local gym! :p
A beautiful film, with a lot of problems
kathleen_kuehn24 August 2005
Warning: Spoilers
This film is a moving investigation of South Central LA from the perspective of an opportunist music director who uses his street credibility in order to penetrate black inner city life and not get shot.
You can read the other reviews to see what the movie does well. It's aesthetically pleasing, emotionally moving (thanks to appropriate musical cues), etc. However, there are moments within this potentially progressive film that takes 100+ years of black "freedom" and flushes it down the toilet.
Does anyone not see a problem with opening up a film portraying black clowns as community heroes? Blacks fought for decades to rid themselves of the stigma of the minstrel -- of the CLOWN. It was unsettling for me to know that while sitting in the theater I was supposed to, in the spirit of the film, be moved by these former gangster's stories -- stories of being saved from the street by clowning. I suppose history is merely repeating itself and once again, the black man can only "rize" from oppression if he takes on the role of the public fool.
My other problem with this film occurred midway through the film during the montage of Krumping. LaChappelle interviews a Krumper named "Dragon" who states (and I'm paraphrasing) that Krumping (the "street" version of Clowning) is something that "we do because we can, because we were made to do it we were born to do it." Immediately following the statement, "we were born to do it," LaChappelle launches into a montage sequence where he juxtaposes flashes of men and women Krumping with found footage of naked African men in face paint and loincloths (holding spears, nonetheless) engaging in tribal dance techniques quite similar to the interspersed Krumping moves. But the cuts are so fast that any isolated Krumping movement could easily be viewed as similar to the dance of the primitive African tribal members. In this moment, I literally felt sick. Is LaChappelle trying to draw the parallel between 21st Century black dancers in inner city ghettos, to primitive tribal Africans (who were probably filmed for a National Geographic special??) LaChappelle, are you saying that black men have the cross-continental genetic disposition of primitive tribal dance?? Giving LaChappelle the benefit of the doubt, I'll write this off as a careless decision. While granted, there very well may be elements of traditional African tribal dance in Krumping and Clowning, this connection needed to be further explored through either interviews or a better ethnographic investigation. As is, I merely felt second-hand embarrassed and horror at the visual connection the director actually made.
My last complaint that I feel most people are overlooking is that this film should have moved us emotionally without the musical cues. Music that speaks for the film, instead of footage that speaks for itself, is lazy film-making. LaChappelle takes the easy way out several times in this film, and ruins many moments that would be better left silent (also, there was no need for the overdub of "Amazing Grace," either. Sometimes raw is better).
But still, I do contend that this film is a must-see. At the very least, you'll learn something. Yet you can't leave this film without acknowledging that inner city youth need a way out. LaChappelle crosses dangerous territory in leaving us feeling like maybe, just maybe, all of these kids will be OK. And that's just not true.
You can read the other reviews to see what the movie does well. It's aesthetically pleasing, emotionally moving (thanks to appropriate musical cues), etc. However, there are moments within this potentially progressive film that takes 100+ years of black "freedom" and flushes it down the toilet.
Does anyone not see a problem with opening up a film portraying black clowns as community heroes? Blacks fought for decades to rid themselves of the stigma of the minstrel -- of the CLOWN. It was unsettling for me to know that while sitting in the theater I was supposed to, in the spirit of the film, be moved by these former gangster's stories -- stories of being saved from the street by clowning. I suppose history is merely repeating itself and once again, the black man can only "rize" from oppression if he takes on the role of the public fool.
My other problem with this film occurred midway through the film during the montage of Krumping. LaChappelle interviews a Krumper named "Dragon" who states (and I'm paraphrasing) that Krumping (the "street" version of Clowning) is something that "we do because we can, because we were made to do it we were born to do it." Immediately following the statement, "we were born to do it," LaChappelle launches into a montage sequence where he juxtaposes flashes of men and women Krumping with found footage of naked African men in face paint and loincloths (holding spears, nonetheless) engaging in tribal dance techniques quite similar to the interspersed Krumping moves. But the cuts are so fast that any isolated Krumping movement could easily be viewed as similar to the dance of the primitive African tribal members. In this moment, I literally felt sick. Is LaChappelle trying to draw the parallel between 21st Century black dancers in inner city ghettos, to primitive tribal Africans (who were probably filmed for a National Geographic special??) LaChappelle, are you saying that black men have the cross-continental genetic disposition of primitive tribal dance?? Giving LaChappelle the benefit of the doubt, I'll write this off as a careless decision. While granted, there very well may be elements of traditional African tribal dance in Krumping and Clowning, this connection needed to be further explored through either interviews or a better ethnographic investigation. As is, I merely felt second-hand embarrassed and horror at the visual connection the director actually made.
My last complaint that I feel most people are overlooking is that this film should have moved us emotionally without the musical cues. Music that speaks for the film, instead of footage that speaks for itself, is lazy film-making. LaChappelle takes the easy way out several times in this film, and ruins many moments that would be better left silent (also, there was no need for the overdub of "Amazing Grace," either. Sometimes raw is better).
But still, I do contend that this film is a must-see. At the very least, you'll learn something. Yet you can't leave this film without acknowledging that inner city youth need a way out. LaChappelle crosses dangerous territory in leaving us feeling like maybe, just maybe, all of these kids will be OK. And that's just not true.
Horrible Documentary
k_arent_lee7 April 2007
This film should go down in history as a "what the heck was the audience thinking?" kind of film. It is positively awful. I heard all about the Sundance award, the good reviews etc and like most people, went to see it thinking it would be great. It starts off okay but within about 10 minutes it turns into this music video that just never stops. The story is totally unclear, it's impossible to connect with the characters and the constant use of MTV techniques gets very tedious and boring very quickly. It's good to see filmmakers using different styles and modes of storytelling but the key words here are "tell a story". There is no story to this film, just a bunch of kids who crump to cool music and then talk about themselves for a few seconds and then crump again. It's relentless and annoying. A really poorly-made documentary.
Truly a wonder of nature, this urban predator, Tommy the Clown and many a story to tell. But it was a rare occasion, such as this, that he did
Anonymous_Maxine14 January 2006
Primus fans, admittedly not exactly the target audience for this film, will immediately recognize the lyrics above and hopefully get a little kick out of it. People who don't know Primus, probably most of the people who would watch this documentary and read about it, will most likely send me angry e-mails.
I am not the biggest fan of hip-hop, rap, r&b, etc., but I decided to check out this documentary because I recently moved to LA and I appreciate seeing people who take difficult life situations and turn them into something positive, and that is exactly what happens in this movie. All of these kids living in the so called dangerous parts of Los Angeles take their frustration and their fear and channel it into a unique style of dancing, which is often quite a spectacle to behold.
It starts with a man who calls himself Tommy the Clown, who entertains at children's parties much like most other types of clowns, except that he specializes in an amazing dance performance rather than magic tricks and balloon animals, and before long other dancing clown groups are popping up all over the place, mostly staffed by kids and teenagers who otherwise would more than likely get involved in a life of crime.
This is an amazing look into the reality of the lives that these people live, right down to individual dance parties, some of the unwritten social rules of the people who dance together (the styles change so quickly that they can tell who has missed even a single day of dancing), and tragic events that take place in their everyday lives. Even if this is not your style of music or dancing, this documentary is definitely worth a look to see how some people take something so difficult and so bad in their lives and turn it into something good. Truly inspiring.
I am not the biggest fan of hip-hop, rap, r&b, etc., but I decided to check out this documentary because I recently moved to LA and I appreciate seeing people who take difficult life situations and turn them into something positive, and that is exactly what happens in this movie. All of these kids living in the so called dangerous parts of Los Angeles take their frustration and their fear and channel it into a unique style of dancing, which is often quite a spectacle to behold.
It starts with a man who calls himself Tommy the Clown, who entertains at children's parties much like most other types of clowns, except that he specializes in an amazing dance performance rather than magic tricks and balloon animals, and before long other dancing clown groups are popping up all over the place, mostly staffed by kids and teenagers who otherwise would more than likely get involved in a life of crime.
This is an amazing look into the reality of the lives that these people live, right down to individual dance parties, some of the unwritten social rules of the people who dance together (the styles change so quickly that they can tell who has missed even a single day of dancing), and tragic events that take place in their everyday lives. Even if this is not your style of music or dancing, this documentary is definitely worth a look to see how some people take something so difficult and so bad in their lives and turn it into something good. Truly inspiring.
What are you, Clowning or Krumping?
TxMike23 July 2006
Warning: Spoilers
DVD, free loan from my public library. To me it is never a waste of time to see a documentary, no matter what the subject, because it helps us with a wider appreciation of the world around us.
This film was shot in the neighborhoods around Los Angeles. The poorer neighborhoods where the alternative to Clowining or Krumping is membership in a gang. So the dancing groups seem, from this movie, to be saving a few hundred youngsters from a life of crime.
We are told that the dancing, which is spontaneous, evolves every day. But whether it was Clowing (followers of Tommy the Clown) or Krumping, it pretty well all looks alike. The dancers are very animated, and move body parts around very fast. Fast feet, fast hands and arms punching in all different directions, and the pelvic area going back and forth as fast as they can. And they sweat a lot.
What I found myself wondering during the film, other than keeping them out of gangs (which is a good thing), what else is the dancing doing for them? No mention was made of any of them having jobs, although one mentioned that dancing can help him cope with problems, like being "short" to pay the bills. Dancing is good, but how are these young people learning to make a way for themselves in life, and what are they being taught about education and eventual jobs? Most of those we see on film seem very capable and intelligent, but I found myself wondering, "Where do they go from here?"
This film was shot in the neighborhoods around Los Angeles. The poorer neighborhoods where the alternative to Clowining or Krumping is membership in a gang. So the dancing groups seem, from this movie, to be saving a few hundred youngsters from a life of crime.
We are told that the dancing, which is spontaneous, evolves every day. But whether it was Clowing (followers of Tommy the Clown) or Krumping, it pretty well all looks alike. The dancers are very animated, and move body parts around very fast. Fast feet, fast hands and arms punching in all different directions, and the pelvic area going back and forth as fast as they can. And they sweat a lot.
What I found myself wondering during the film, other than keeping them out of gangs (which is a good thing), what else is the dancing doing for them? No mention was made of any of them having jobs, although one mentioned that dancing can help him cope with problems, like being "short" to pay the bills. Dancing is good, but how are these young people learning to make a way for themselves in life, and what are they being taught about education and eventual jobs? Most of those we see on film seem very capable and intelligent, but I found myself wondering, "Where do they go from here?"
there's enough clowns in Australia already.
ptb-85 November 2005
Warning: Spoilers
If I live to be a million and take serious hallucinogenic drugs every day, I would never have imagined the first 25 minutes of this documentary film. Tommy The (Negro) Hip Hop Clown???!!! Clowning and rap and clowning with break dancing and clowning in South Central LA??? God Almighty..... These black kids and their Mummas and jelly tots do everything imaginable except strum a banjo and sing Doo Dah Doo Dah. But then something so out of this all-sorts Minstrel show happens: a kid called Larry. In a spectacular off-the-cuff piece of comedy, imitating and hamming it up for the camera (and having Tommy roll about on his leopard print bedspread, clutching several fluffy tigers) Larry in an inadvertent screen test I hope brings him every possible positive showbiz breaks, absolutely steals the movie. Some one who knows someone, quick! Get this kid a gig in a major film, immediately. His name is Larry! Otherwise, the end credits for the film are the entire movie. Yes I saw another culture for 80 minutes, it was jaw-dropping and funny and sad and clever. Just put Larry into commercial filmdom and RIZE will have been worth it. As for the tubby rainbow clown posse thing, well, yes, if it makes a mark. Good. And I thought THE WARRIORS was bizarre. But as I said in paragraph one..........
One of the greatest DANCE movies ever!
kzzen30 June 2005
I am sorry, but it is a SIN that this film is not getting more recognition. It literally is one of the greatest movies about the art of dance EVER MADE. I mean, people, this is an awesome film about the ART of movement in its rawest most creative stage and there has never been a film like it.
Please don't miss it.
And also don't miss the Ab soundtrack CD.
The use of music in the film is truly exceptional and not overwhelming.
The documentary style is clever (even if it is a little hazy on detail and maybe stretches a few truths).
And finally, please bring some children to see this so they can see the "other side".
Secret political message of the film: why are we spending money in IRAQ when there is so much need here?
Please don't miss it.
And also don't miss the Ab soundtrack CD.
The use of music in the film is truly exceptional and not overwhelming.
The documentary style is clever (even if it is a little hazy on detail and maybe stretches a few truths).
And finally, please bring some children to see this so they can see the "other side".
Secret political message of the film: why are we spending money in IRAQ when there is so much need here?
Fascinating, mesmerizing
olivetreecanada7 August 2006
Warning: Spoilers
As amazing as the dance styles themselves are the lives of the dancers. Most of the dancers profiled in this incredible documentary name Jesus Christ as the reason for their dedication to krumping and the transformation of their own lives. But David LaChapelle (mostly a director of MTV videos) evidently didn't know how to let the dancers communicate this important motivation. The DVD extras contains footage of the dancers speaking to an audience after a preview of the film at the Tribeca Film Festival, and they make clear in their own words what LaChapelle would not let them say directly in his film. Rolling Stone is right to call this a 'visual miracle'; I only wish LaChappelle had let the dancers tell more of their own story.
An excellent film/an inspiration
oghama24 June 2005
Finally someone who can see some light! Reviewers who love the image of Hollywood's usual depiction of poverty will not like this film. People just don't live like the image usually shown. This film, on the other hand, reaches into the human heart. Its about humanity, after all. People who will always seek to express what is happening in their lives. It is unusual for films to catch that in development, preferring the cynical reduction of artless reaction, which is usually a classist snobbery. This film breaks all the rules and uses a style of interview reminiscent of James Agree.
I will definitely buy this film when it comes out in DVD as I want to be able to show it to friends who currently despair over the future of young people. This is a celebration of the possibilities
I will definitely buy this film when it comes out in DVD as I want to be able to show it to friends who currently despair over the future of young people. This is a celebration of the possibilities
Nice Abs
TheXenolith26 August 2008
Put some mildly interesting plot spices and a lot, and I do mean a lot of Krumping throughout, you get RIZE.
RIZE features very wild Krump moves, some awesome, some provocative, and some even hilarious but all entertaining nonetheless. I'm no street dancing fan, but this movie showcases some of the most impressive Krump moves I've ever seen.
The acting's good for a movie like this. It's not going to win any Oscars but it's far from average. Some of the jokes actually cracked me up few times.
Great music. Big beats that will thump your heart out. It's what you would expect from a documentary exposing such a wild dance culture. Intense, tribal, and all that; can't find the words. Music plays a big part in this movie obviously.
Cinematography is good. Fast cuts that flow seamlessly. Very MTV like. It won't win many awards but it sure works well here.
The documentary displays the best of Krumping, the people involved, and their culture. If you have even a passing interest in Krump or urban dance styles then RIZE will be the one to watch.
RIZE features very wild Krump moves, some awesome, some provocative, and some even hilarious but all entertaining nonetheless. I'm no street dancing fan, but this movie showcases some of the most impressive Krump moves I've ever seen.
The acting's good for a movie like this. It's not going to win any Oscars but it's far from average. Some of the jokes actually cracked me up few times.
Great music. Big beats that will thump your heart out. It's what you would expect from a documentary exposing such a wild dance culture. Intense, tribal, and all that; can't find the words. Music plays a big part in this movie obviously.
Cinematography is good. Fast cuts that flow seamlessly. Very MTV like. It won't win many awards but it sure works well here.
The documentary displays the best of Krumping, the people involved, and their culture. If you have even a passing interest in Krump or urban dance styles then RIZE will be the one to watch.
Dance clown Dance!
bitter-422 June 2005
"Rize", a documentary from fashion photographer David LaChapelle that tries to capture the 'war' between two styles of street dance "Clowning" and "Krumping". Unfortunately, LaChapelle is beaten to the punch by the makers of "Be Cool". The kids that LaChapple 'discovers' on the streets of L.A. are also featured in John Travolta's bloated budget movie some year and half earlier, taking some of joy of discovery out of the sails. The kids are also put to better use in there brief appearance in "Be Cool", and frankly, their moves really aren't all that impressive. There's a kid named Isiah that dance with "Just Us" in Boston that blows them away. LaChapelle's documentary comes across way to preachy and it's central character, "Tommy The Clown", is the reason most people hate clowns. Little prediction here, within three years the FBI will be in Tommy's backyard with earth movers; just one guy talking here. Growing up on the mean streets of Connecticut. LaChapelle is ultimately out of place in East LA and it shows. "Rize" comes across as little more than a well intentioned GAP Ad. You have been warned.
Simply beautiful
elizasimons29 June 2005
It was already clear that dancing is a great substitute for self-hating activities like smoking, overeating or filling up an ex's voice mail. It should follow that dancing can replace hate itself. The makers of RIZE have given us an infinite gift demonstrating this. What a rare and beautiful way to spend two hours. It makes you want to turn to the person next to you, and just take care of them. The dancing and sheer creativity and heart in this movie are something to behold. There are stars born, and people to fall in love with. Keaton Simons & Morgan Simons let me know about Dave LaChapelle's photography years ago. The only way to describe the visuals in LaChapelle's videos and films is sheerly courageous. Don't just see RIZE. Live by it.
Galvanized monkeys or something else?
siderite1 January 2007
As a documentary, this film isn't much. It just shows footage of people doing this clowning business and some short interviews during make up sessions or whatever. But it does portray the subject well.
The subject is clowning and krumping, extreme forms of dance born from hip-hop, made famous by the Chemical Brothers video "Galvanize". What it looked to me is a hip-hop mime, with violent overtones. At first I thought "What the hell is that?" There were black people shaking every body part as violently as they can, throwing hands up and down, left and right, like monkeys touching a high voltage line. But then I got it. It was language, body language, and it was art, as each kid there brought his own message.
Immediately the film started showing how this type of dance is keeping children off the streets, doing something positive, etc., etc. That dancing didn't look too positive to me. It expressed a lot of frustration and violence, but it sure beats shooting people, and I was shocked to see what the life for people in South L.A. is like, where the only other option of expression is joining a gang and hurting or killing people.
But let's not get ahead of ourselves here. The same thing was said of rap and hip-hop a time ago, and they all turned out to be easily hijacked by commercial interests or corrupted towards the "gangsta" side. And it's so easy. These people have no education, no money, they can be easily swayed either way, if someone puts resources into it.
Bottom line: this is like a documentary about the rise of hip-hop or boogie before it, only it's about some other form of spontaneous urban expression. I don't think the film or the dance style are very special or well done, but they do show in one quick swoop the situation and subculture of these people and also their emotions, basically expressed in dancing. It's also pretty depressing, since it shows how desperate people lift their spirits through something that doesn't really does anything else for them. Like the music of the slaves. They were still slaves, only they could cope with it because they sang a lot.
The subject is clowning and krumping, extreme forms of dance born from hip-hop, made famous by the Chemical Brothers video "Galvanize". What it looked to me is a hip-hop mime, with violent overtones. At first I thought "What the hell is that?" There were black people shaking every body part as violently as they can, throwing hands up and down, left and right, like monkeys touching a high voltage line. But then I got it. It was language, body language, and it was art, as each kid there brought his own message.
Immediately the film started showing how this type of dance is keeping children off the streets, doing something positive, etc., etc. That dancing didn't look too positive to me. It expressed a lot of frustration and violence, but it sure beats shooting people, and I was shocked to see what the life for people in South L.A. is like, where the only other option of expression is joining a gang and hurting or killing people.
But let's not get ahead of ourselves here. The same thing was said of rap and hip-hop a time ago, and they all turned out to be easily hijacked by commercial interests or corrupted towards the "gangsta" side. And it's so easy. These people have no education, no money, they can be easily swayed either way, if someone puts resources into it.
Bottom line: this is like a documentary about the rise of hip-hop or boogie before it, only it's about some other form of spontaneous urban expression. I don't think the film or the dance style are very special or well done, but they do show in one quick swoop the situation and subculture of these people and also their emotions, basically expressed in dancing. It's also pretty depressing, since it shows how desperate people lift their spirits through something that doesn't really does anything else for them. Like the music of the slaves. They were still slaves, only they could cope with it because they sang a lot.
Great Documentary, Great Story
darienwerfhorst26 September 2007
Before the movie starts there is a note to the effect that none of the camera work has been speed-ed up. Once the kids start dancing, you know why this is mentioned.
The film starts with historical footage of the Watts riots in 1965, and then the Rodney Kind riots of 1992. Things are ablaze. People are getting beat up.
And then enters Tommy the Clown who is a hip-hop clown and I guess celebrity in Watts/South Central. He is a sweet man who has taken in kids who's parents are in jail, abandoned them, etc.
The dancing in this film is amazing, to be sure...you will wonder how people can move like that, so fast, so crazy, particularly when you see a 4 year old girl or a 300 pound woman do it.
But what was more astonishing was the kids in the movie. These kids have a right to be the most angry, aggressive, horrible kids ever. And yet they are generally thoughtful, generous, and very wise.
I realize some of this is in the editing, but a 20 year old kid who takes care of his siblings while Mom is in jail until she gets her act together is quite a human being, and most of these kids come across like that.
They dance as an expression of their anger, as a way to create family, and an alternative to the gang families that pop up in the void of traditional nuclear families in places like South Central.
Yes, at the end there is a scene with a bunch of them dancing in slow-mo and it looks like they've been oiled up and their hair is fabulous and you know, so what? David LaChappelle has a background in photography, and if anybody deserves to pretend to be supermodels, it's these kids.
Great great movie.
The film starts with historical footage of the Watts riots in 1965, and then the Rodney Kind riots of 1992. Things are ablaze. People are getting beat up.
And then enters Tommy the Clown who is a hip-hop clown and I guess celebrity in Watts/South Central. He is a sweet man who has taken in kids who's parents are in jail, abandoned them, etc.
The dancing in this film is amazing, to be sure...you will wonder how people can move like that, so fast, so crazy, particularly when you see a 4 year old girl or a 300 pound woman do it.
But what was more astonishing was the kids in the movie. These kids have a right to be the most angry, aggressive, horrible kids ever. And yet they are generally thoughtful, generous, and very wise.
I realize some of this is in the editing, but a 20 year old kid who takes care of his siblings while Mom is in jail until she gets her act together is quite a human being, and most of these kids come across like that.
They dance as an expression of their anger, as a way to create family, and an alternative to the gang families that pop up in the void of traditional nuclear families in places like South Central.
Yes, at the end there is a scene with a bunch of them dancing in slow-mo and it looks like they've been oiled up and their hair is fabulous and you know, so what? David LaChappelle has a background in photography, and if anybody deserves to pretend to be supermodels, it's these kids.
Great great movie.
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