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It is a well-known trait of satires that ultimately fail to achieve their satiric visions that they begin with an onscreen definition, and “Dope” follows this pattern. Typically, these movies begin with a definition of satire, but by the time the credits roll, they have failed to live up to that definition. The title of the film “Dope” takes its cue from Webster’s definition of the word, which describes it as a slang term for a moron, drugs, and something that is hip. To “Dope’s” credit, it provides us with credible examples of all three of these, but to the film’s detriment, it vacillates between being shockingly tone-deaf and surprisingly on-point throughout its running time.
A narrator, played by the film’s producer Forrest Whitaker, introduces us to the characters of Malcolm (Shameik Moore), Jib (Tony Revolori, “The Grand Budapest Hotel”), and Diggy. Jib is a close friend of Malcolm’s (Kiersey Clemons). The narrator explains to us that they are interested in “White shit” such as having good grades and attending college. Malcolm, a student who maintains a perfect grade point average, has aspirations of attending Harvard; however, his advisor does not believe that he is as serious as he claims to be because Malcolm’s application essay is a dissertation on Ice Cube’s song “Today Was a Good Day.”
Malcolm and his crew are also members of a punk band, in which they perform catchy songs written by producer Pharrell Williams. Despite this, Malcolm feels a connection to everything from the 1990s, including its hip-hop artists and the hi-top fade that remains on his head until the very end of the film. The soundtrack features a greatest hits collection of rap music from the 1990s, demonstrating that it is significantly more knowledgeable than our protagonist. This youngster is under the impression that Eric B. and Rakim’s seminal work “Paid in Full,” which was released in 1986, became popular in the 1990s. Later, someone points out to Malcolm that he was wrong to try to appropriate another iconic work from the ’80s for his mediocre decade.
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But I digress. Everyone lives in a neighborhood in Inglewood, California called “The Bottoms,” and when writer-director Rick Famuyiwa focuses on the minutiae of Malcolm’s daily struggles to navigate his neighborhood, the film “Dope” becomes addictive. “The Bottoms” is where everyone lives. Famuyiwa has previously covered Inglewood in his excellent feature film from 1999 titled “The Wood,” and he provides a knowing jolt of familiarity for those of us who grew up in circumstances that are comparable to those depicted in the film. I was able to relate to many aspects of Malcolm’s character, who is a type of black nerd that is seldom portrayed on the big screen. I used to be that dork as well. While he was describing how each path from school to his house contained its own distinct risks, I nodded knowingly in agreement. Even though it was popular at the time I did it to my hair, I rocked his hairstyle. I was aware of people who sold drugs, addicts, and those who would rob you for your sneakers; however, I could not afford to buy any footwear for them to steal because I did not have any money. When I thought back to all of the times that people accused me of being a “want tobe White” because I was focused on schoolwork rather than “keeping it real,” I experienced a sharp pain in the pit of my stomach.
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The day-to-day shenanigans of Malcolm, Jib, and Diggy in their local neighborhood would have been enough, but the episode “Dope” introduces a drugs and violence plot that appears to have been lifted from any number of ‘hood movies from the 1990s that Malcolm probably has memorized. The song “Boyz N The Hood,” “House Party” by the Hudlins, and “Belly” by Hype Williams are just a few of the samples that are included. The movie “Dope” satirizes, fetishizes, pays homage to, and steals elements from a number of different movies throughout its runtime. Despite being billed as a comedy, the movie has some tense moments where it gets violent. People are goryly shot, and then there is one jaw-dropping shot of a blood-splattered GameBoy that is played for laughs. The shot is not funny at all. The majority of the time during the movie I had the impression that something was off, but it definitely has its share of brilliant and effective sequences.
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This drug plot is combined with a “After Hours”-style gradually increasing series of challenges for Malcolm in the episode “Dope.” It all begins fairly innocuously, with the neighborhood drug dealer Dom (played superbly by A$ap Rocky) telling Malcolm to court Nakia on his behalf by making a romantic overture (Zoe Kravitz, doing a flawless imitation of her mother, Lisa Bonet). Nakia agrees to accompany Dom’s messenger to the party that he requested, but there is a risk that the messenger will be killed as a result of his attraction to Nakia. Malcolm goes to the party in order to spend time with Nakia; however, the party is actually a front for a drug deal, which of course does not go as planned. As a direct consequence of this, Malcolm winds up carrying a significant quantity of Molly in his backpack.
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Jib and Diggy are tagging along, and they’ve proven to be more than capable sidekicks in the past. They continue to support Malcolm even after his initial scheme to dispose of the illegal goods is unsuccessful, as well as after Dom’s mentor pressures Malcolm into selling the illegal goods. Along the way, they come across a number of people whom “Dope” mocks in an entertaining manner. These range from the type of brother who always ends up giving witness testimony on the news to the type of White hacker who complains about not being able to use the N-word. Because Diggy slaps him after each attempt, he is unable to say it, while everyone else in the room repeats it approximately 200 times.
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Roger Guenveur Smith, a frequent collaborator with Spike Lee, takes on the role of Dom’s guide, A.J., who also winds up being Malcolm’s connection at college. Smith does an incredible job in this regard, using his voice in such a way that it conveys menace while at the same time remaining preternaturally smooth and calm. The combination sounds like the Geto Boys rapping over “Brahms Lullaby,” and Smith makes sure to squeeze as much as possible out of his dialogue. His character attended Harvard, and as a result, he has the influence necessary to get Malcolm admitted there as well. This is what getting a Harvard education gets you—a role as Mr. Big?—and those feelings extend to the movie as a whole. Smith is great, but I have mixed feelings about his character, and those feelings extend to the movie.
On the one hand, Malcolm’s “Super Fly”-inspired plan to coerce A.J. into pulling some strings at Harvard is no different than, say, a rich White kid whose father and grandfather went to Yale using their influence to get in despite not having the grades for it. On the other hand, Malcolm’s plan to coerce A.J. into pulling some strings at Harvard is no different than a rich White kid whose father and grandfather went to Yale using It is refreshing to see Malcolm use his computer savvy and entrepreneurial spirit to sell those bags of Molly simply due to the fact that people of color are rarely portrayed on screen as having intelligence and foresight on par with white characters. On the other hand, I had the impression that the film’s message could be interpreted as suggesting that, for a disadvantaged young man of color, the only sure path to the hallowed halls of an Ivy League university is one that is paved with drug sales and blackmail. I have no doubt that I will keep battling with these concepts and my own interpretations, which, to tell you the truth, is a very positive development.
Even though “Dope” is not nearly as offensive as “Me and Earl and the Dying Girl” in its portrayal of African-Americans, the film still left me feeling agitated about what I’d just seen, even though it was screened at the same Sundance Festival that honored the offensive film. “Dope” played at the same festival. The fact that the movie chose to get on its high horse in the very last few minutes contributed in some measure to the audience’s annoyance. This lecture, which was given by Malcolm, brought to mind the film “Crash” directed by Paul Haggis. It felt like a concession to the audience members who needed to feel better about themselves and a pat on the back in the form of congratulations. In the voiceover, Malcolm asks, “Why do I want to go to Harvard? ” while he sports a new hairstyle that is considered to be more “respectable.” If I were White, you wouldn’t even think to ask me that question, would you? Since you brought it up, Malcolm, I feel obligated to ask you this question: “If you were White, would a movie have chosen the path to Harvard that “Dope” chooses for you?”
For more personality quizzes check this: Mr Holmes Quiz.
