There’s a lot to be said for being passionate about one’s
work. Particularly in artistic ventures,
passion beyond simple commercial gain can go a long way in making a product
enjoyable, even if that product is not exactly perfect. That’s the sort of headspace that Dope seems to occupy: writer/director
Rick Famuyiwa really cares about what he has put on the screen, and though it
isn’t a perfect representation of what he was trying to achieve, the general
feeling and overall effort are readily apparent.
Dope is the story
of Malcolm and his two friends Jib and Diggy.
They are outcasts in their underprivileged public school, as they are
90s hip-hop geeks who care about “white people things” like getting good grades
and going to college. Through a series
of adolescent accidents and general inexperience with the world of gangstas,
Malcolm finds himself strapped with a backpack full of MDMA. Since turning in the dope is not an option
for a black kid from the ghetto, he must find a way to get rid of the product with
the help of his equally street-inept friends.
If there is one thing the film does really well, it is in
treating Malcolm as a complex character, a teenager who doesn’t know who
exactly he is except for defining himself as who he is not. He is not a drug peddler and his identity is
couched in getting to Harvard so that he can pull his mother out of their poor
neighborhood. But who he is as a person
is confused and muddled, somewhere between a product of his environment and a rejection
of it, and that ends up being the focus of his character arc. This culminates in a wonderful scene that
involves Malcolm speaking directly into the camera, equal parts blunt and
provocative, but still necessary in ensuring the film’s main point isn’t lost
on its (presumably predominantly white) audience.
But as great as that culminating moment is, the rest of the
film isn’t nearly as consistent. It’s an
issue of tone that emanates from an excited director wanting his film to be all
things at once. Scenes can transition
between lighthearted and goofy to deadly serious at the drop of a hat, and
while some of that feels intentional, other times it is jarring and seemingly
out of place. There also seem to be
missed opportunities to flesh out the supporting characters of Jib and Diggy,
who mainly exist as a sounding board for Malcolm’s musings rather than as fully
fleshed out characters.
That said, Dope is
still a pretty good movie, a project saved almost exclusively by the extreme
passion for its existence. At times
hilarious and at times deeply contemplative, this film is a strong early entry
for Rick Famuyiwa, and I hope he can harness that enthusiasm for a more
balanced product in the future. But in
the meantime, give Dope a chance to
win you over.
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