Starring Mario Van Peebles, Eriq La Salle, Melvin Plowden, and Richie Abanes
Directed by Joel Silberg
Music and Lyrics by various
Let's return to the US to celebrate Juneteenth with this early look at rap culture. By 1985, rap had just begun to get off the streets and into mainstream homes. Movies were starting to take notice of this dynamic new urban culture, too. Even smaller studios wanted to cash in on that gritty new sound. The Cannon Group was also at their apex, considered to be one of the strongest "B" movie studios at that point. Having dove into the breakdancing craze with Breakin' and Breakin' 2, they moved in on the even more novel and popular rap craze. How does this attempt look today, when rap is one of the dominant musical genres in the world? Let's begin as Pittsburgh ex-convict Rappin' John Hood (Peebles) is released from prison and find out...
The Story: John returns to his decaying Pittsburgh neighborhood to live with his grandmother (Eyde Byrde) and little brother (Leo O'Brian). He reunites with his gang, only to discover that greedy developers want to knock it down and displace its diverse, impoverished residents. He doesn't exactly make himself popular with the local hoodlums, either, especially their leader Duane (Charles Grant). Duane isn't crazy about John's attentions to his girlfriend Dixie (Tasia Valenza), either.
Dixie is the one who finally convinces John and his buddies to audition for rap recording contract. Even that might not be enough to save their homes. Developer Thorndyke (Harry Goz) is under pressure to evict John and his neighbors and tear down their dwellings for new development. John's not about to let them get thrown out. They rally the neighbors to fight back, but the rap really heats up with Duane and his boys attack, and the stage is set for a showdown at the courts, where John and his friends prove that music has the power to bring together communities and shared dreams.
The Song and Dance: This was honestly better than I was expecting, and probably better than it has any right to be. It's cheesy, yes, but it's a fun cheesy. Everyone really gets into their roles, with an intense Van Peebles and big, tough La Salle coming off best as the friends whose fondness for rap manages to unite their community. Melvin Plowden (in apparently his only movie) is adorable as their always-hungry friend Fats, and Valenza is sweet enough as Dixie to make you understand why John goes after her, even though she's already taken. There's some genuinely cute rap numbers and some surprisingly decent filming in real-life Pittsburgh.
The Numbers: We open with the title song performed by Lovebug Starski, reintroducing John (and introducing us) to the people of his neighborhood. John and his brother reunite with their rap "Two of a Kind." The first chorus number and the big number at John's welcome-home party is Claudja Barry's dynamic "Born to Love," which underscores the confrontation between Duane and John where the latter won't fight. John and his buddies are musically annoyed with Fats' "Snack Attack" at the produce warehouse where Richie (Albanes) works.
"First Love Never Dies," performed Eugene Wilde and Joanna Gardner, is our first glimpse of where Dixie works. "Golly Gee" seems like a slightly sexualized number for the members of Tuff, Inc, whose collective ages can't even be in double digits. It's enough to amuse the local kids their age, as is John taking them on a "Neighborhood Walk." "Killer," the first rap audition at Dixie's job, gives us a satirical look at the darker side of rap culture that almost seems like a spoof of darker "gangsta' rap" in the 90's. The Force M.D's are a lot less scary with their matching sweaters and "Itchin' for a Scratch." John beats them both by rapping to two brawling drunks with "Lady Alcohol."
Dixie's listening to teen singer Warren Mills record "Flame In the Fire" when she has to deflect Duane's call. John's first recording is "Livin' With the Buzz," underscoring his brother's arrest. "Call Me" details how John and his neighbors fight the construction workers and get their heat back during a frigid Pittsburgh winter. "The Fight Rap" at the courtroom reminds everyone of the importance of fighting to the very end. The entire neighborhood reprises "Rappin'" as they celebrate saving their homes in the finale.
Trivia: Master Gee of the Sugarhill Gang dubbed Peebles' numbers.
What I Don't Like: Did I mention how cheesy and cliched this is? I'll pass the cheap sets - this is an urban wasteland, it's not exactly supposed to look lavish - but the "save the neighborhood" story isn't anything you haven't seen in dozens of movies going back to the silent era. I don't know much about rap, but I know enough to note that none of the songs in the movie are especially memorable, and most of the numbers edge into absurd West Side Story imitations.
The Big Finale: This is far from a masterpiece, but it's enough fun to be worth seeing for fans of Peebles, early rap, or 80's urban-set musicals.
Home Media: Easily found pretty much anywhere. Can often be found streaming for free with commercials, including on Tubi.
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