Friday, February 26, 2010

A Warner Bros. Gangsta Movie

By Odienator
(for all posts, click here)

It was pre-ordained that the gov’ment would get Wesley Snipes for tax evasion. In 1991, Snipes played the Scarface-obsessed Nino Brown in Mario Van Peebles’ directorial debut, New Jack City. Ollie Stone and Brian De Palma’s 1983 ghetto favorite, which plays behind Brown during a pivotal scene, was based on Howard Hawks’ 1932 version of Scarface. That in turn was based on several events in the life of Al Capone. And what did the gov’ment get Al Capone for, dudes and chicks? All together now: TAX EVASION!

If we apply this logic elsewhere, Charlize Theron gonna kill somebody and Jake Gyllenhaal gonna have sex with your boyfriend. But let’s stick with New Jack City’s powers of destiny. Ice-T plays the New Jack City cop who wants to bring Nino down, and where is Ice-T now? Playing a cop on Law and Order: The Show That Won’t Die. And this is a man who isn’t choosy about the roles he plays. He played a kangaroo in Tank Girl. Yet he didn’t play another cop until Law and Order a decade later, so they didn’t cast him because he played cops in other movies. It’s the curse of New Jack City. Cop Killer my ass! Cop PLAYER is more like it.

New Jack City wants to be an anti-crack movie, and is at times heavy-handed in its message delivery, but I can see right through all that. This movie’s main objective is to turn gangster movie clichés into gangsta movie clichés. The anti-drug message is noble, but Mario and company weld it to a violent crowd pleaser with a hissable villain and an easy, recognizable line between good and evil. In a way, New Jack City is Scarface, Colorized.

Not that I’m complaining. I love this movie. I may be the only ‘hood denizen who thought Pacino’s Scarface was a piece of chit (I’m a Carlito’s Way kinda guy), and van Peebles’ tip of the hat to it is WAY too obvious. But as quiet as it’s kept, New Jack City has been almost as influential to hip-hop as Tony Montana. For example, Li’l Wayne’s last name may be Carter, but that’s not why he named his album Tha Carter. And Cash Money Records was started by two brothers, making them the Cash Money Brothers, the CMB in New Jack City’s dialogue.

The Scarface parallels are a small price to pay to see Wesley in the best role of his career. New Jack City allows him to play many aspects that Denzel would try (and fail) to play in American Gangster years later. As I said once before here at BMV, Snipes is not afraid to truly get dirty. Denzel can’t pull this off. As much as I liked Training Day, I didn’t buy the late-reel King Kong Ain’t Got Shit On Me Denzel. American Gangster’s Frank Lucas made me think of his Mo’ Better Blues co-star uttering his famous (and my favorite) line from that film: “That’s bullshit! Everything you just said is bullshit.” Snipes would have made a better Frank Lucas—Nino Brown is clearly influenced by him--but he was probably running from the gov’ment at the time.

One of the stars of New Jack City is crack. It gets more screen time than some of the actors, including Vanessa Williams (not THAT one!) and her fellow Williams, Christopher. Early in the film, a crack vial is given a loving close-up by van Peebles. Nino picks it up and, thanks to his partner and best buddy Gee Money (Allen Payne), decides that it will be the key to his success. “The world is mine” becomes Nino’s catchphrase, echoing both versions of Scarface’s The World Is Yours. Nino and Gee Money hatch a plan to take over The Carter Apartments, using it as a base for their crack making organization. It’s 1986, and crack is just becoming epidemic in the inner city. Nino and his CMB crew get in on the ground floor, just before things get ugly and profitable.

New Jack City opens with shots of New York City. As the camera finds our anti-hero on a bridge, Queen Latifah, Troop and Levert sing a version of the elder Levert’s classic, For the Love Of Money merged with Stevie Wonder’s Living for the City. On the bridge, Nino holds a man in debt to him over the East River, letting him go without a second thought. We then find our hero cop Scotty undercover, about to buy drugs from Chris Rock’s Pookie. Pookie robs Scotty, and takes off on a bicycle. As Scotty chases him on foot, to the strains of his portrayer’s rap song, New Jack Hustler, van Peebles’ camera follows along swiftly, switching between overhead and point of view shots. Pookie drives his bicycle down steps and flies in the air like Elliot with a duffel bag of money instead of E.T. Scotty winds up shooting Pookie in the leg. Money flies everywhere, and as people try to run off with it, Scotty identifies himself as a cop. On the street is Kareem Akbar (Christopher Williams), the computer programmer turned Nino Brown cohort.

Three years later, crack is everywhere, and Nino Brown has turned The Carter into a successful base for his organization. He’s intimidated or blown away his enemies and scared the inhabitants and/or made them customers. They have a computer setup thanks to Akbar, whom Nino refers to as “that pretty muthafucka,” and a system of manufacturing and delivering crack. He has Dun Dun Dun Man (a stuttering Bill Nunn) for muscle and numerous lookouts. Brown’s system is so tight that, had Whitney Houston brought product from him, he would have given her a receipt. Detective Stone (van Peebles) wants to get Nino Brown, but like Don King, nothing sticks to him. Stone hires Scotty, who knows the streets, to help him bring down CMB. He pairs him with a White cop named Nick Peretti (Judd Nelson) who is, as the cliché must dictate, just as big a loose cannon as Scotty. Scotty takes one look at Peretti and it’s hate at first sight. Stone won’t recruit Scotty without Peretti, so Scotty acquiesces. Peretti celebrates by shooting a happy face shape in the wall.

Meanwhile, Pookie has become a crackhead. Chris Rock is pretty young in this picture, and his skinny frame works to the character’s advantage. When we see Pookie, he is on line waiting to get fed by Nino Brown’s food line outside. Brown buys turkeys for the homeless and gives little kids money, but he’s also enslaving the neighborhood with crack. Pookie is a beneficiary of both Brown’s humanitarian efforts and his misanthropy. Scotty sees him and follows him to a crackhouse, to find him beating up a crack ho over a piece of turkey. Perhaps feeling guilty for shooting him, Scotty drags Pookie into rehab.

Pookie’s rehabilitation is shown in a montage of scenes with him getting the monkey off his back. As soon as the movie does this, we know Pookie is doomed. Rock gives a very credible performance as a crack head, almost as good as Samuel L. Jackson’s in Jungle Fever. What happens next made me think of Sam, who once said that the second he got out of rehab for crack, Spike Lee cast him as Gator Purify in Wesley’s next picture. As soon as Pookie has kicked the crack habit, Scotty sends him undercover at The Carter. Wearing a camera belt and a wire, he gets hired as a lookout. Stone has doubts, but Pookie begs Scotty to give him something to do to get his mind off of crack. Unfortunately, Kareem Akbar promotes him to the crack manufacturing area. Handling all those little vials of crack proves too much for Pookie. He falls off the wagon big time, blows the investigation and gets caught by Gee Money wearing the surveillance equipment.

Scotty and company try to rescue Pookie, but they are too late. Gee Money has not only killed him but rigged him with a bomb to destroy all the evidence that wasn’t burned up in the fire Gee Money set at The Carter. Peretti and Scotty defuse the bomb, but no evidence is left to convict Nino Brown. As a result of numerous cop deaths that occurred in a prior bomb blast, Stone gets his ass chewed out, then passes on the savings to Peretti and Scotty. “It’s over,” he tells them.

Scotty’s guilt over Pookie gets the best of him, and during a drinking binge with Peretti, he expresses remorse. “I got Pookie killed,” he tells Peretti. Peretti responds by telling him he used to be “White trash Pookie,” a former drug addict. It’s a very good scene for Nelson, and like Snipes, this is probably his best role. He joins forces with Scotty to bring down CMB behind their superiors’ backs.

Nino and Gee Money were like brothers, but a woman comes between them. She’s Uniqua, whose name must have inspired The Backyardigans, and she’s played by She’s Gotta Have It’s Tracy Camilla Johns. Gee Money has a thing for her, but she’s attracted to the powerful Nino. Nino’s woman (Michael Michele) is tired of Nino’s womanizing, but he ignores her. Nino’s sloppiness with his personal relationships will come back to bite him numerous times, starting with that incident at The Carter. Nino was too busy with Uniqua (who gets a scene set to Color Me Badd’s I Wanna Sex You Up) to pay attention to The Carter’s activities. As a result, they have to start over because of Pookie’s undercover work. Nino responds to this by treating Gee Money like shit and stabbing the pretty muthafucka in the hand with his pimp cane knife. Upset about his treatment, Gee Money turns into Pookie, that is, he starts smoking his product.

There are a lot of singers in New Jack City, and except for Ice-T, they’re all on the side of the drug dealer. Even Nick Ashford is on Nino’s payroll, and he’s a minister! The group Guy sings at Nino’s club, and whiny ass Keith Sweat whines his way through a song at a wedding paid for by Nino’s money. This wedding is a turning point in the film for the audience. Nino has been playing the Mafia for fools, and after humiliating one of their messengers, the Mafia takes revenge, turning the wedding into a bloodbath. Up until this point, the audience with whom I saw New Jack City was firmly on Nino’s side. Snipes changes their mind the second he pulls one of the flower girls in front of him as a shield once the Mafia starts shooting. She survives, but my audience wanted blood after that.

Scotty infiltrates Nino Brown’s organization, courtesy of an increasingly unstable Gee Money. Gee Money wants to cut a side deal so he can overtake Nino Brown once and for all. Scotty uses this to drive an even bigger wedge between the two while offering to get Nino enough drugs to kickstart his new venture. Scotty earns Nino’s trust by stopping Bill Cobbs from shooting him. Cobbs plays an old, Bible quoting man who lives in a crack-infested neighborhood courtesy of Nino Brown. Cobbs lectures Nino, who asks him what has he done for the community lately. Cobbs answers that by pulling a gun. You know how they say if a gun is introduced in the first act, it’s going to be fired in the third?

Peretti breaks into Nino’s safe and gets all the incriminating 3.5 inch disks from The Carter’s computers (I love how criminals always make this kind of computer boo-boo in the movies). Scotty is all ready to make the drug deal at the same location, with police officer Russell Wong pointing his camera in a hidden area, when Kareem finally remembers where he saw Scotty. And that he’s a cop. A shootout occurs, and Nino escapes.

What follows is the one scene in New Jack City I’ve always questioned. Brown and Gee Money meet one final time, and Snipes’ acting here is excellent and complex. Gee Money, high on crack, confronts Nino, reminding him of how they were brothers and how he felt betrayed. Brown responds by scolding Gee Money both for smoking crack and for letting Uniqua come between them. Gee Money asks if things can go back to the way they used to be. Brown hugs Gee Money, and Snipes sheds tears as he does so. Repeating a line from earlier in the film, Gee Money asks if Brown is his brother’s (that is, his) keeper. Brown answers yes, and shoots Gee Money. I was always conflicted about why Brown, his face streaming with tears, shoots him. Does he shoot him because he’s afraid he’ll turn snitch, or does he shoot him because Gee Money has become the one thing Brown knows has no future—a crackhead?

Screenwriters Thomas Lee Wright and Barry Michael Cooper give Snipes several speeches about why he does what he does, including a courtroom scene where Brown shows he’s as crafty with the law as he is with crime. One of Snipes’ speeches even helps Ice-T’s performance. Watch Ice-T’s face as he realizes the woman Nino Brown tells him he shot as part of a gang initiation was Scotty’s mother. He has to realize it, then play it off. Ice-T’s voice even shakes as he responds to the story, and it makes you itch for the moment when Scotty finally gets a crack at whipping Nino Brown’s ass.

"I wanna shoot you so bad, my dick's hard"

New Jack City ends with an audience satisfying fate for Nino Brown, a nice bow to wrap the film with and a nod to the Hays Code notion that criminals couldn’t get away with their crimes. But as in the far more horrendous Colors, the real truth lies in Ice-T’s theme song. At the end of New Jack Hustler, he raps “lock me up, it’s genocidal catastrophe/They’ll be another one after me, a hustler.”


Hal said...

Great writeup as always, Odie. Gotta agree that Hawks' SCARFACE is far superior; George Raft was as authentic as one could get in the 1930's, given his pre-acting career profession, and the film was probably Paul Muni's best performance, which is really saying something given the remainder of his career. It's a better film than both LITTLE CAESAR and PUBLIC ENEMY (btw, what did you think of Fred Williamson's take on the former, BLACK CAESAR?).

What ever happened to Tracy Camilla Johns, anyway? This is the only post-SHE'S GOTTA HAVE IT film I can remember seeing her in.

Danny Peary's ALTERNATE OSCARS chose Wesley Snipes as the best choice for Best Actor in 1991, and I don't disagree.

My take on the Nino/Gee Money rooftop scene: his tears are for the twin reasons that A) things can never be "the way it used to be" again AND B) the fact that he feels he HAS to kill Gee Money, because he can't let him live after what has happened and expect to ever regain his former power. Even in what should be a moment of humanity, Nino's foremost thought is maintaining his image.

The latter harkens back to LITTLE CAESAR; Rico's decline is a direct result of "going soft" on his one time partner in crime near the end--in his own words, "liking a guy too much". Homosexual subtext is unmistakable in the 1931 film, nonexistant in CITY; but Nino is showing the difference between himself and the film gangsters that preceded him; he will avoid going soft no matter what the cost. And later proves it again by throwing Kareem under the bus on the witness stand.

odienator said...

Hal, that's a very interesting take on the Nino and Gee Money scene. You tie it in with the rest of the Warner Bros' gangster canon (though Scarface is from UA if I recall correctly).

Perhaps there WAS some homoerotic, Little Caesar intent between Nino and Gee Money. After arguing with Michael Michele, Nino goes to spy on Gee Money with Nola Darling. Nino also kisses Gee Money on the cheek before pushing him away and shooting him. It's not blatant, but the more I think about it, the more I can see it. If nothing else, you are dead on about Nino wanting to maintain his image.

On one of Siskel and Ebert's shows, they suggested a Best Supporting Actor nod for Wesley Snipes. I think he deserved one too.

For Muni, I've always been partial to I Am A Fugitive From A Chain Gang. As for Fred Williamson in Larry Cohen's Black Caesar, he could have had The Payback as his theme song, but NOOOOOO! I haven't seen it in a while, but I recall liking it more than Hell Up in Harlem. I have to give Williamson credit; he wrote and directed several vanity productions, becoming an indie producer of his work for years to come. A lot of it is pretty bad, but I have to give him credit.

I just read that Sammy Davis Jr. was offered the part in Black Caesar and turned it down. I am going to have nightmares about Sammy shooting people.

Dunno what happened to Tracy Camilla Johns. Maybe we need a Tracy Camilla Johns conspiracy theory piece here at the Mumf!

Jamie said...

I like the movie, but I like the sountrack better. "New Jack Hustler" was the pinnacle of Ice T's career.

odienator said...

"New Jack Hustler" was the pinnacle of Ice T's career.

I'm gonna have to disagree with you on this one, as I think O.G. Original Gangster is his greatest song. New Jack Hustler is quite good too.

Hal said...

re: BLACK CAESAR. I read that Davis was offered the role also. Hard for me to see how anyone could picture him in the role. Williamson was perfect IMO. Thalmus Rasulala (who, if memory serves, had his final screen role in NEW JACK CITY) would have been a very good choice too.

I'm not a fan of HELL UP IN HARLEM; it looks like a rushed cash-in attempt on the first film.

BLACK EYE is DVR'd and is my next Williamson watch. He didn't direct that one, but it is one of his very few films not to make DVD yet. Teresa Graves' last screen appearance as well.

I need to rewatch CITY; maybe my take on the rooftop scene would change slightly, or other interpretations would come to me.

Steven Boone said...

Sammy Davis Jr. as Black Caeser sounds beautiful, like Henry Fonda in Once Upon a Time in the West-- or, haha, Wayne Brady's turn as a Training Day villain on Chapelle's Show. Trust, he had it in him.

The only thing that hobbles New Jack City from being a perfect piece of B-movie neo-blaxploitpulp is Peebles' weakness for celebrity non-actors. Though they've imrpoved tremendously over the years, at the time Chris Rock and Ice-T could. not. act. But Sweetback Jr. always has infectious fun staging action sequences and negro villainy. Ho'wood should give him one of these newfangled comic book movies to mess with.

odienator said...

Though they've imrpoved tremendously over the years, at the time Chris Rock and Ice-T could. not. act.

Don't you dare pick on Pookie! I thought Rock was credible on the Rock. And Ice-T was OK too. Is Wayne Brady gonna hafta choke a Boone?! Brady's Dave Chappelle piece is still one of the best things Chappelle's Show brought us.

Fritz Novak said...

"YOUR SOUL IS REQUIRED IN HELL!" always left me cold. It seemed too much like crowd-pleasing course correction that took away from the movie's dramatic power. I can buy it as an homage to Hays Code Era gangster flicks, but I didn't see enough references in the movie to the pre-Godfather tradition. I see it as a dry run for the awful Sugar Hill epilogue which completely invalidated any staying power that it might have had.

odienator said...

Fritz: It seemed too much like crowd-pleasing course correction that took away from the movie's dramatic power.

I agree that the ending is pure crowd-pleaser; everyone in my audience erupted with applause when Bill Cobbs showed up with that gun. Yes, his line was uber-cheesy, but I can believe his character would say it. I wouldn't want the film to end any other way. I had enough reality in my neighborhood. Shoot that fucker, Bill Cobbs!

Sugar Hill was written by the same guy who wrote New Jack City, Barry Michael Cooper. I wasn't enamored of Sugar Hill, but it featured two of my favorite scene-stealing bruvas, Michael Wright and Clarence Williams III.

Unknown said...

Pinnacle of his career? I think not. What about his amazing work in Johnny Mnemonic? "He's down with the Yakuza!"

Fritz Novak said...

That's a good point, Odienator. I was definitely cheering when Bill Cobbs ambushed him. But I thought about it afterwards and I felt...used. That being said, I had previously watched The Wire and The Sopranos in rapid succession, and NJC was like the good girlfriend after a string of bad ones, when you're surprised and suspicious of anything good that happens. You mean the evil scumbags get what they deserve? Even after the justice system characteristically gets played? And you'll make me breakfast in the morning? What's the catch?

And you're right, Samson Simpson was great in Sugar Hill. I'm still amazed how badly they mucked it up with such a great cast.

Speaking of which, I enjoyed Michael Wright both in Sugar Hill and the extremely small portion of "Point Blank" I was able to endure. Can you recommend any decent movies he's in?

odienator said...

Fritz, you make an interesting point. Sometimes an "audience pleasing" ending can be a disaster, especially if it's completely out of place. I think of Reality Bites, Pretty in Pink, Desperate Measures, and numerous other movies whose endings made me say "that didn't make any damn sense! What was the point of that?"

I don't think New Jack City cheated. It plays both sides of the fence, working both as a dramatic piece and an over-the-top crowd pleaser. So when Nino Brown gets his, it just feels right. We know our joy is short lived--as Ice T raps, there will just be another one after Nino--but for that moment, we can rejoice that our anti-hero got a just send-off.

You wanna talk about great villains whose movie endings betrayed them? Try Morgan Freeman in Street Smart! What a brilliant performance (his scene with Kathy Baker and a pair of scissors is a masterpiece on both their parts) ruined by a dopey-ass finale.

I never really cared for the Sopranos. I watched it the first few years because I was homesick for New Jersey (some of it was shot in my hometown). When I got back to Jersey I never watched the show again until the series finale. I thought Oz was a much better show that got robbed of deserving Emmy nods, especially for its writing. A lot of people got fooled, thinking The Sopranos' ending was representative of something brilliant. I love a good hustle/con, so I have to admire D. Chase for making his audience think a non-ending meant something profound. (I thought it was just an excuse to have a big Sopranos movie later on. Gimme dat money, HO!) I loved The Wire and its "predecessor," The Corner.

Here's a question: Does an unhappy ending automatically mean a better product? I prefer an ending that is in tone with the rest of the movie. You can't end Bringing Up Baby with the cougar mauling Cary Grant and Kate Hepburn (though Paul Thomas Anderson probably would have). And you can't end Seven with Gwyneth Paltrow singing "I Ain't Got Nobody." Movies abuse the happy ending principle, but I'm a lot more aggravated when a film chooses the dismal, gloomy ending route in an attempt to be deeper and more respected.

A movie ending doesn't have to be happy to be great. In fact, Fail-Safe has one of my favorite endings in all of moviedom, and it always freaked me out. But I am not a believer in looking for meaning or realism at the movies. Maybe I'm just a sentimental fool.

As for Michael Wright, he's great on Oz, and fine in The Interpreter, but I wrote about my personal favorite performance of his during BHM 2009. He's the heart and soul of The Five Heartbeats.

Fritz Novak said...

A movie doesn't have to have an unhappy ending to be good, and you're absolutely right in that it has to match the tone. And New Jack City does play both sides of the fence. I just happened to gravitate towards the cynical side of the movie and the great Wesley Snipes courtroom scene dovetailed perfectly with that. They could have ended the movie right there and it would have been true to its spirit. But no less true than dragging Nino Brown to hell. No sense arguing about that.

As for matching the tone, that's why I'll defend The Sopranos ending, not as post-modern brilliance, but as the only true way to end the series, which had written itself into a corner and constantly tried to have its cake and eat it too. They showed Tony suffering for his crimes, but not in a way that gave the audience any kind of satisfaction. He had lost everything but his disintegrating sham of a family, his money and his life and if that wasn't enough for us, then too bad. Did this cynical, misanthropic would-be morality tale deserve the countless emmy's and endless, fawning critical acclaim? Was it half as good as The Wire? Of course not, but I maintain that it ended on its own terms.

"I'm a lot more aggravated when a film chooses the dismal, gloomy ending route in an attempt to be deeper and more respected." Spot on. Reminds me of the Break-Up, which didn't understand the difference between transcending rules of a genre and merely violating them.

"I am not a believer in looking for meaning or realism at the movies." Nothing wrong with that. And movies often strike out trying too hard for either (like PT Anderson's 2007 flick CAPITALISM AMERICA AND VIOLENCE!) But you end your excellent Boyz piece by challenging your readers to understand why Menace II Society is a lesser film. While less meaningful and perhaps less realistic (I'm not from off the corners like Bill Cosby, so I wouldn't know) I enjoyed it more. So if you don't believe in looking for realism and meaning, why do you think Boyz is better? Is it more satisfying or better crafted in your opinion?

odienator said...

why do you think Boyz is better? Is it more satisfying or better crafted in your opinion?

I liked Menace II Society, but I felt nothing watching it. It plays like an immature piece of exploitation, despite Larenz Tate's superb turn as my sometimes namesake, O-Dog. It belongs in the same thug flick bucket as movies like Belly. Boyz has adoration for the authority figure who might save boys like John Singleton and yours truly; Menace places its love squarely on the thugs. This is why so many critics diss Boyz and embrace Menace as Boyz's "corrective." It speaks to that suburban White kid who thinks living in the hood is akin to a game of Grand Theft Auto. It lacks the complexity of Singleton's vision. Menace is the movie the Columbia Pictures trailer for Boyz made Singleton's movie out to be.

Again, Menace isn't a bad movie. Perhaps I should post my original review of it here at some point. Menace spoke to the ghetto kid in me, the one who had some admiration for the bad guys. I'm not ashamed of that character, and he's been seen out here on Big Media Vandalism plenty of times. But Boyz immediately made me think about what my fate might have been.

Both Menace and Boyz end the same way, if you think about it: The death of a thug. Singleton uses a cinematic device to depict Cube's demise, and though the Hugheses also use a cinematic device (the narration), they employ it over the very accurate portrayal of their protagonist bleeding to death on the sidewalk. Menace's sequence is more "realistic" to be sure, but I had less of a response to it.

My comment about not looking for meaning or realism at the movies opens up this huge can of worms. Someday, I will have to go back to the E-mail thread started by me, Jason Bellamy and Boone regarding whether movies change people. We were going to post that up here, and I'm sure we will, that is, if a certain lazy, bald headed fool would respond to the last E-mail! For now, I believe I can only get out of movies that which I bring into them. Would Boyz have been as effective as it was for me if I didn't already have the nerves it hit? That's what I was getting at in my statement.

This is a "to be continued" topic of discussion here at BMV. Stay tooned!

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