Slam

In the remarkable racial film Slam by Mark Levin shows firsthand how other forces define us. In the movie a young man named Ray Joshua gets caught up in this stereotypical generation, while gang violence and drug dealing causes Ray to become another statistic in his society. This inspirational tale lets the viewer see how people in different surroundings can be faulted so easily based on their race, neighborhood, and level of threat to society. Ray makes the best of it when he stumbles upon a passion for slam poetry which changes his whole perspective on life.

When Ray participates in a drug deal gone bad and is arrested for possession of a controlled substance and suspicion of homicide, he starts to realize the odds of him fighting this and winning his freedom back is slim to none. While in jail he is defined as a typical African American drug dealer but he begins to fight back when he finds a way to resolve a fight between to gangs by blessing them with his free written poetic rap which talks about the forces that try define him. Ray fights back and attempts to change the way he lives his life by trying to end the revenge between the people that shot his friend in a drug deal gone bad. Not even the violence can define Ray as he uses his imagination to express all his feelings through poetry. He begins to go down the right path when he gets out of jail and does everything in his power to live above society's definition of him and try to better his surroundings. He does this when he stands up to his enemies and explains that revenge is pointless and they should just squash their beef.

Extra Credit One theme I saw replay itself in the movie is how the public views people like Ray and how these people fall right into societies trap because it's the only way they know. Nobody expects for these Washington D.C. punks to ever grow out of the ghetto and make something better of themselves. Ray really proves his society wrong when he shows everyone that he can be a good person and he expresses this through his poetry which opens up a whole new group of people who teach him the typical or expected way isn't always the way to go. Society views Ray and his community as "public enemies number one" because everyone assumes they will all just become drug dealers or killers and end up in jail. This is a horrible stereotype that is seen everywhere in the world and can define the people in the ghetto. It takes a strong man to live above this definition and try to make something better of himself.

My favorite part in this movie is when Ray attempts to stop or delay a fight about to break out in the jail yard. I loved this part because anyone can write a poem and make it rhyme, but it takes a strong motivated individual to use his poetry as a way to make people think about the decisions they make and ultimately put a stop to a deadly situation. I can relate to when Ray was meeting with his public defender and he was given the ultimatum of either going to trial and fear losing or pleading guilty for less time even if he was guilty. When I was in eighth grade I worked at a concession stand at a football field where I was accused of stealing money. I denied stealing the money and I was told either I admit to stealing the money and giving it back or they were going to call the cops. I told them to call the cops because I knew I was innocent. About a week later I got a call from the woman who runs the concession stand and she explained that another worker and her own son had admitted to stealing the money. I felt helpless when I was given an ultimatum because I realized that when people don't believe you, you could be paying the consequences for another person's wrong doing. I could tell that Ray felt helpless and trapped in between two negative outcomes. This film sends the viewers a message that if you don't try to better yourself from the people around you, then you will fall into societies definition of a typical ghetto troublemaker. I would recommend this film because it urges the importance of living above what's expected of you and I think a lot of young kids these days don't realize that.

When growing up in the ghetto one of the hardest things to do is find yourself. "Slam" written and directed by Mark Levin, is the story of a man named Ray Joshua (Saul Williams). Being surrounded by gangs and drugs he gets sent to jail when a drug deal goes bad. While in jail he realizes his passion for poetry. This inspiring story of a man overcoming the ghetto, turning his life around, and discovering his passion is a story that shows if you have a good head on your shoulders you can do anything you put your mind to.

In the movie there are many things that try to define Ray: society and race and the justice system are some of the major ones. Somehow with all the forces against him through expression and poetry Ray defines himself. After getting arrested for a small charge of possession of marijuana because of the justice system he is forced to either confess or go to court and fight it which would wither way get him 3-10 years. There was no winning for him.

With the themes of race, drugs, gangs and jail this movie makes it easy for people to connect to. One of the best parts of the movie was at the end when Ray finally finds his way and performs in a poetry slam. It was a powerful scene full of emotion. This movie sends many different messages. One of which is when you find something you are passionate for you should find a way to show others and express yourself through it. For example when Ray performed at the poetry slam; it wasn't his usual scene but he got out of his bubble and went for it.

This movie is responsible for a lot of things and after finally seeing it I now know why. What it lacks in polished film making it more than makes up for in honesty, passion and ambition. From the performances through to the writing and cinematography everything is raw and beautiful and vibrant with life in a way that we never see in Hollywood films. And I'll be damned if the subject isn't poetry and how it exists in and what it makes of real life. How it is real life. In many aboriginal cultures there is no separate category for art that differentiates it from the rest of life and this movie hearkens back to that cultural tradition. A young Saul Williams defines his life, takes action, heals himself and saves others through his poetry. All of the acting is fresh and real but Saul Williams and Sonia Sohn especially shine, as they should. There is something real going on that is being captured here and the rest of America better know what it is.

Without Saul Williams this film could not have been made. Its as if it was tailor made for William's awesome rapping talents without which the film would be pointless.

This film is definitely a milestone in black cinema. Its fresh, breathtaking, original, powerful and 'takes no prisoners' (mind the pun).

And a couple of word about the soundtrack - the ever excellent DJ Spooky takes the credits combining the most powerful hip hop outfits around, to create an intensive soundtrack which completes this film and leaves you open jawed.

In Marc Levin's Slam, perhaps the greatest asset he and cinematographer Mark Benjamin bring is the documentary-style to this urban-based drama. For the first few minutes of the film, I thought this would be a documentary. In a sense, when I realized when it wasn't it was a letdown, because even though this is a close-to-life depiction story of a kid in the ghettos of Washington DC, somehow if it really was a documentary it might've been even more compelling. As it is, Slam is a very naturalistic first-person drama, and the film deals with a protagonist that isn't hard to identify with, even when things seem a little over-done or even when it's a little naïve.

Basic story in two sentences – Raymond Joshua (Saul Williams, also one of the film's co-writers) is set up to go to prison for pot, and while in prison he meets a few people that recognize his skills as a writer and poet.

When he gets out he wants to hold on to the freedom he knows he can attain, but he doesn't know how. With this conflict, Raymond is a character that is recognizable and identifiable with the audience. And with this, Williams creates a constantly believable performance even when his character may not sound entirely believable or realistic.

Although the performances are a plus for the film's success, such as Bonz Malone as Hopha, and Sonja Sohn as the writing teacher/poet Lauren, for me the style over-passed the substance. Though the poetry was inspired and the poets in the film who spoke them were very good, some of the story elements were not as effective as they could've been. For example, there's a blind-men analogy when Raymond gets out of jail and sees that his pot-dealer friend, who got shot, is now blind. Raymond is morally in the right in their final scene together, but it's a little too thick of a message for my taste when Raymond says, 'I once was blind too, now I can see.' Williams' poetry (which I assume he wrote himself) is interesting, although it's his delivery that catches my ear over the content. In a pivotal scene his poetry saves him from a beating in the prison yard, yet somehow it doesn't feel as real as some of the other scenes, like with him and Malone's character.

As I said, the style was what held the film, especially for such a low budget. I loved the use of the hand-held, shaky mis-en-scene, as though someone was allowed to peek into the atmosphere of DC. And from a psychological standpoint, Levin seems to extract what the essence is of Raymond and his neighborhood. Through his usage grainy color and then to a 8mm camcorder for flashbacks from Raymond, I felt the emotional impact that Levin was going for, the mix of disorientation and of being in a free-fallin' kind of society where you don't know what can happen next. I just wished that I saw more of that with the characters and the story. Cool ending though. B