SLAM (director: Marc Levin; cast: Saul Williams, Sonja Sohn, Bonz Malone, Lawrence Wilson, 1998)
An intense look at the low quality of life for blacks in the inner city of Washington, D.C., where killings and drugs are commonplace. SLAM has the feel of a documentary film, as it traces the story of a young rapper and minor drug dealer, Ray (Saul), who gets caught with the stuff while running away from the scene of his friend being shot. He is faced with the decision of ratting out others and going free, copping a guilty plea and getting two years, or of taking the case to court and if convicted getting a ten year sentence.
In jail, Ray uses his slam poetry (a combination of rap, hip-hop, and expressive non-traditional poetry) to save himself from being set upon, as he discovers that freedom is in the mind of the beholder. Jail is a perplexing place for this gentle soul, as he is bedazzled by the inhumanity and injustice of it.
He is noticed by an attractive, sensitive prison English teacher, a reformed addict and prostitute, Lauren (Sonja), who starts a relationship with him, intrigued by his poetic ability and the desperation of his situation. These two non-professional actors give this film the fiery performance, it sorely needs.
When he is bailed out of jail, he meets Sonja at her home, and realizes that he has entered a new world, where the practice of non-violence through his poetry is the best way out of his situation. The highlights of the film come from the strong performance poetry readings by the actual poets, where their poems are seen as innovative, and have a more powerful feel to them than the liberal preachiness of the film does.
What makes the film seem somewhat foolish and improbable, is the contrast of how real and menacing the authentic prison scenes looked and of how artificial the message of non-violence is, when delivered by those who lived their entire life in violence and are suddenly converted by one slam poem into changing their ways. It does give the film an uplifting message, but it was not believable in the context of this story.
This film can be valued for the energy it spends on its performances, the sharpness of its poetry, and the clarity of its cinematography. There is hope for Ray, as he tries to survive and establish his art and self-identity. There is, also, hope that this film can have a positive affect on the young audience that sees it. But, it should be noted, this is by no means cutting edge film making.
REVIEWED ON 12/17/98 GRADE: C+
Dennis Schwartz: "Movie Reviews"
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