48 of 51 people found the following review helpful:
5.0 out of 5 stars
If only Wild Style could have gotten this kind of treatment., April 22, 2003
This review is from: Style Wars (DVD)
I, like many, first saw Style Wars back in the early 80's on PBS as an impressionable youth who was just discovering Hip Hop in all it's forms. It has remained to this day, one of the best (certainly the most honest) accounts of Hip Hop in it's relative infancy. While the focus is squarely on the "writers" (graffiti artists for all you new jacks), we do get to see other aspects of Hip Hop culture in play (most notably b-boying with the Rock Steady Crew). Watching the film on dvd after so many years was literally like going back in time. It not only holds up, it has aged like fine wine. Every shot in the film reeks of NY & Hip Hop in the early 80's. A true, 100% bonafide classic in every sense of the word. The filmakers have succeeded beautifully in capturing the spirit of the time, the place, the people and the culture. This is a true time capsule if there ever was one.
Ok, enough with accolades. Now on to the disc. Dang. Talk about getting the deluxe treatment. Whereas the Wild Style DVD is incomplete (see my review), Style Wars is not only complete, uncut and un-altered, it is absolutely full to brim with fantastic extras...close to 4 HOURS worth. Highlights include art and interviews with many of the films participants. Most notable for me was MIN ONE. He's the tough little curly-haired, white kid who tries to get the rest of the writers to retaliate against Cap for "going over their burners". ("That's never forgive action"). All I can say is he looks like he's been through one hell of a lot in the last 20 years. Very sobering to say the least.
Other extras include outtakes, audio commentary by the filmakers, and (this is very cool) a 30 minute loop of "whole cars".
If you consider yourself a serious Hip Hop head, you have no excuse not to own this dvd.
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3 of 3 people found the following review helpful:
3.0 out of 5 stars
A grass roots, street-level documentary pleasing to the eyes, April 10, 2009
This review is from: Style Wars (DVD)
Style Wars (1983) from directors Henry Chalfant and Tony Silver,
is a grass roots, street-level documentary that is easily
digested, as it's pleasing to the eyes.
It offers a glimpse of 10 to 16 year olds, in the inner cities of
Brooklyn, Bronx back in the 1970's and 1980's, who are surrounded
by high rises, who brainstormed for ideas back in the 1970's to
have fun and pass the time.
In this particular instance, it involves dance competitions, art
competitions, music competitions, expressed in various
recreational halls through the break-dance styles, DJ-ing and
rapping, free-styling with rhymes as well as by using up 15 to 20
canisters per subway train in color painting them.
This subculture, comprising the "personal lives" of dozens of
youths (in contrast to school, or professional endeavors) is
specialized to the point that various youths' aliases become
"stars" in their own right, with verbal histories or accounts
being told and passed down to other joining this movement, who
are pigeon holed in this ghetto.
The psych of those taking part, is underpinned by a sense of peer
pressure in the group for the best art, dance moves and ability
to rhyme, coupled with a sense of ego gratification by somehow
having become world-class, as their assigned names or tags are
seen on trains crossing the city. Perhaps a sensitive point for
the undertrodden in the inner cities, housing projects,
accustomed to poverty, yet crossing all background and cultural
lines.
The images taken are numerous, well chosen, and the narrative
well planned, the testimonies frequent, the educational aspects
to the masses very understandable. Underground terminology such
as "bombing" (meaning to deface a train for the first time),
breaking and rocking (meaning, doing a style of dance), are a few
explained.
Some locations are reminiscent of those seen in Escape from the
Bronx, by Enzo Castellari or Warriors by Walter Hill, such as the
manhole entrance, or the underground warehouse, etc.
Inevitably the idea is taken from the ephemeral, to amateur, to
professional, as viewers see graffitists sketching ideas back
home, planning out missions on trains, organizing themselves in
time and space, approprating 15 paint cans at a time, from
stores, in their competition. To the point that 8 year olds are
given an apprenticeship of sorts into become accomplished
graffittists.
All sides of the story are told, with messages from the mayor of
the city, police detectives, concerned parents, outraged public
transit users, keeping in mind that these deeds against property
pale in comparison to behaviors against people also processed in
the justice system (murders. etc) or even, the 3-card-Monte,
pickpockets, shoplifts, etc.
The movie redeems itself, by calling attention to art galleries,
school programs for those with a talent in visual art, by
suggesting that the "big time" is possible into the mass media.
It also underlines sensitivity campaigns against graffiti, by
boxers Hector Camacho and Alex Ramos.
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