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Block Party (Dave Chappelle's)
A Rogue Pictures release of a Rogue Pictures and Bob Yari Prods. presentation of a Pilot Boy/Kabuki Bros. Films production in association with Partizan Films.
 Produced by Mustafa Abuelhija, Julie Fong, Dave Chappelle, Yari.
Executive producers, Skot Bright, Greg Manocherian, Doug Levine.
Co-producers, Callum Greene, Robert Katz.
Directed by Michel Gondry.
With: Kanye West, Mos Def, Talib Kweli, Common, the Fugees, Dead Prez, Erykah Badu, Jill Scott, the Roots, Dave Chappelle.
Camera (Deluxe color), Ellen Kuras; editor, Sarah Flack, Jeff Buchanan; music supervisor, Corey Smyth; production designer, Lauri Faggioni; sound (Dolby Digital/DTS), William Tzouris; assistant director, Douglas Torres.
Rating: R. Running time: 102 MIN.
Column Rating: Definitely See, unless your knuckles turn white when hearing excessive language; an insightful documentary of the maturing rap music scene crafted by one of our leading comics, Dave Chappelle.
With Your Children? Only children-at-heart, college age and older; there is considerable language and bluntly stated, social concerns.
THIS DOCUMENTARY FILM movie romp rocks as one of the more watch-able movies about the culture of R&B Reggae-influence Rap and hip-hop—due entirely to Dave Chappelle’s down-home style humor, exercised for this capture of an impromptu open-air free concert, free food gathering in a low-traffic intersection in Brooklyn. Reminiscent of ‘Woodstock’ footage, along with associated and not innumerous home-style movies of that historically notable event, Block Party may turn out to be significantly historical in hindsight, possibly gracing scripts years from now, looking back on the seminal moments, music and musicians of an era. Chappelle, hopefully, will live to see the day, and deservedly so—his documentary did possess a certain quality,  didn’t romanticize the artists, and held my interest. Most definitely, those on camera were on their best behavior—at least those in the footage that didn’t wind up as archival material for the inevitable DVD release.
Chappelle has an unusually broad demographic, both as a stand-up comedian and television performer. His various moods coalesce in an intriguing blend of engaging humor, raw observations of life and social behavior, with an undertone of social advocacy for racial freedoms and peace. He doesn’t pull punches, and yet his message and delivery calmly and succinctly cover a lot of ground. He is becoming recognizable, and still has a way to go to the film industry ‘A’ list...which is why, at first mention, it is not necessarily a good bet that you would want to catch a film about drumming up an audience out of thin air to visit the intersection of Quincy and Downing in Brooklyn for good BBQ and rap music "all afternoon and into the night" at his once-in-a-lifetime free Block Party.
Any fan of documentaries looks for the genuine, the distinctive, the feeling of an honest attempt to capture the subject carefully, and as objectively as possible—otherwise, it is quickly apparent that the footage is not documenting, but simply employing the poetic license of a fiction, based loosely on some inspirational person, group or notable phenomenon. Chappelle, et al, achieve a rather unpretentious glimpse of an engineered event juxtaposed with the spontaneous acceptance of an invitation from Chappelle, easily one of the more recognizable comedians of the day. In an amiable, party-generating enlistment campaign, he candidly offers transportation "by bus," free food and lodging, and a BBQ and Rap music Block Party—in Brooklyn—with a big ‘fun’ quotient. He sweeps through his hometown, and then back in Brooklyn, inviting whomever crosses his path.
I was completely content to be an armchair traveler, on the inside track with the cameras. Revisiting these people throughout the film (more clever editing) created ‘characters’ that are randomly captured on camera during the road trip and party. They became people that amused and engaged; people enjoying their temporary VIP treatment. The camera crews consistently captured simple, disarming exchanges, the only cinematic device the natural inclination of strangers to be cordial, and trusting of Chappelle’s intentions. Those from back home that could, willingly tag along in his bus caravan to New York.
Of particular charm was the realization, by the Central State University bandleader, of this obviously genuine offer to transport his entire marching band, their equipment and gear, to attend and perform at the Block Party. In the foreground, Chappelle quips calmly, while in the background, the bandleader visits with the college president to secure release for this ‘out of town’ performance. The young college musicians gleefully accept the news; they laughingly take in stride the wacky turn of events promised after that afternoon’s band practice.
 So take yourself to this movie ‘just to see’ if the promise of a block party brings the excitement and satisfaction a splashy party implies. In addition, if you do not know the musicians, you will at least have the beginnings of a familiarity with these particular artists by the time the party wraps up. This documentary skillfully serves up bits and pieces of the concert intermingled with Chappelle and camera operator encountering their concert-going potential audience. He was at his most relaxed, confidently bantering while inviting strangers to his party in a seemingly aimless fashion. The footage edited to document the more humorous invitations also included little insightful vignettes of some of the enthusiastically accepting individuals of the spontaneous call-to-fun three days hence.
The action stepped up little by little, the edited scenes of the invitations spliced with glimpses of the concert shifted to predominantly concert performances punctuated by the whereabouts and antics of the ‘characters.’ Finally, the performance footage increased in intensity to a full-on rap concert. Shot on location, in Ohio and New York, Block Party had an impressive roster of artists: Kanye West, Mos Def, Talib Kweli, Common, Dead Prez, Erykah Badu, Jill Scott, the Roots, Cody ChesnuTT, Big Daddy Kane, Wyclef Jean and—reunited for their first performance in over seven years—the infamous Fugees.
 Musical highlights included Kanye West’s melodic performance of his "Jesus Walks," the vivid clarity and unusual vocalizations of Erykah Badu, Dead Prez, one of the more recognizable hip-hoppers, more than slightly confrontational in his admonitions to do as his lyrics suggested in his "Turn off the Radio." Chappelle mercifully translated for the viewer, which helped me to start getting the rhythm and cadence of the rap form, until I was catching more of the lyrics myself. The Roots, were backed by rap notables and a highly charged reception of promised finale diva, Lauryn Hill, who could not perform her music under contract with her current studio, and asked The Fugees to rejoin, allowing her to perform. Their rendition of "Killing Me Softly," which brought them to national attention years back, showcased Hill’s considerable vocal talent. Mos Def (currently in "13 Blocks" with Bruce Willis), was particularly appealing. Def was a trooper for this concert, onstage a good deal of the time.
One must concentrate on context, as the Rappers have an aggressive, rapid-fire delivery of often-unfamiliar concepts to the uninitiated. I found one set of lyrics particularly telling, as the musician asks "…do you want a Lexus, or justice—do you want a Beamer and gold chains around your neck, or do you want—freedom!" As the enunciation was not always familiar and pronunciations of words like justice (jus-pause-tice, emphasis on second syllable) were difficult to catch, I was particularly proud to make sense of this song’s chorus.
 Another musician, Wyclef Jean, Haitian born, often thought to be Jamaican, addressed some of the marching band troupe while visiting informally in the rehearsal room. He stated, "Don’t look to the whites to blame for your troubles, look to yourselves, take responsibility for your future, no one else will. Get your education." He revealed he came to this country without knowing English—and made it. English was his third language, and he still made his mark. Obviously including comments more appropriate to the impending audience of this film, he stridently spoke of education, especially libraries, the use of libraries, and if there wasn’t one in their neighborhood, to talk to their Mayor, or Governor…and go, do it, learn how to make it on their own with the tools at hand.
Separately, these messages appear unrelated. Together in the span of a couple of hours of viewing, the message is fairly cohesive—improve yourself, make it on your own, and begin to think of what needs to be done in the world, to think of what they would do "if they were President," which alludes to the lyrics of the Wyclef Jean’s better known pieces, "If I was President…I’d get elected on Friday, assassinated on Saturday, buried on Sunday, and back to work on Monday…" Responses were indicative of the college band’s age group, as several mentioned scholarships on their short lists, right ‘up there’ with world peace and feeding the hungry.
The message is going out, and we should listen, and possibly influence others and be fluent in the intention, if not the type of musical vehicle. A now global audience is listening and we need to anticipate a bit of the outcome and impact of this cultural phenomenon. 
Photos copyright Focus Features.
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