In a variation from showbiz-bio convention, Compton gives us not one exploiter but two: The white Heller and the black Knight both enter the tale with something real to offer, and maybe even with decent intentions. But they’re less important to the overall story than Knight, who as Death Row’s resident kingpin lived high while artists like Tupac Shakur, Snoop Dogg and others made him millions. members DJ Yella and MC Ren get minor attention here (as Yella, Neil Brown Jr. In one repugnant moment, our boisterous heroes celebrate the conclusion of a comic-gangsta showdown by tossing a nearly naked woman into a hotel hallway and locking the door behind her. Only after a couple rise to the rank of girlfriend or wife do they even get to speak, with two or three lines of dialogue suggesting they may be sentient creatures. And it cares even less about complaints concerning misogyny in their lyrics: Women are nonentities in this film, the spoils of commercial success.
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While the movie makes sense of the passions behind that song, it isn’t at all concerned with those who claimed the group’s other tracks glorified crime. Touring behind Compton, the band fills huge venues, learning to be grateful for public outcry and police harassment, all of which just generates record sales. This leads to the departure of Cube, who is forced to keep reminding people he wrote most of this stuff and isn’t getting his share before long, Dre goes his own way, founding Death Row Records with the hotheaded Knight.īefore the breakup, though, there is “F- tha Police,” an anthem that scared the hell out of Middle America but makes perfect sense here, spilling from Cube’s pen only after multiple scenes in which racist, abusive LAPD officers humiliate the rappers and their neighbors for no reason.
But he also manages to become a partner in Eazy-E’s Ruthless Records, and, though the movie is vague about the details, to underpay everyone in the group but E. “I can make you legit,” he says, and he does connect the group with Priority Records, which releases the groundbreaking Straight Outta Compton.
That cut, “ Boyz-n-the-Hood,” is a local hit, attracting the attention of an older white manager, Jerry Heller ( Paul Giamatti).
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