HUSTLE & FLOW
US, 2005, 116 minutes Colour.
Terrence Howard, Anthony Anderson, Taryn Manning, Taraji P. Henson, DJ Qualls, Ludacris, Isaac Hayes.
Directed by Craig Brewer.
Hustle & Flow was a star vehicle for Terrence Howard. He is said to have spent a month living in a brothel as well as meeting with many pimps to try to understand them and incorporate them into his performance. He also contributed to the song, especially “It’s hard out there for a pimp” which won an Oscar for best song.
The setting is the city of Memphis, a poorer area, African- American area, with a pimp who operates his prostitute from a car, drivers-by picking them up, returning her, he collecting the cash.
However, he also wants to be a composer and singer, and admiring the successful singer, Skinny (Ludicrus) from Memphis. He relies on his friend, Key (Anthony Anderson) and, from the local church, Shelby ( DJ Qualls). They build a studio at home, work on compositions and lyrics, Djay’s friend, the pregnant Shug (Taraji P. Hensen) for singing the melody chorus.
They work hard at the singing, with the prostitute, Nola (Taaryn Manning) simply turning off the electric fan when necessary but, finally, interested by Djay with the promoting of the record, especially after his imprisonment when he attacks Skinny. Ironically, in prison, he is consulted by some of the police who will also try to promote their songs.
While there is a squalid background to the story, there is some hope and people breaking out of constrictions. Director, Craig Brewer, also directed the striking Black Snake Martin as well as the remake of Footloose.
1. Audience impact? Critical success? Oscar win with the song, nominations? African- American audiences, themes? Universal?
2. The city of Memphis, the city, its people, the neighbourhoods, black, poor, the streets, prostitution, views? The contrast between affluence and poverty? The studio, music? The areas, violence, the club, prison?
3. The musical score, the contribution of Terrence Howard, lyrics and rhythms, hopes for a career, singing, Key and his work, Shelby? The building of the studio, rehearsals, composition? The singing? Improving the lyrics, the approach to Skinny, the help, no help? The radio and final success?
4. Terrence Howard and his research, his manner, pimp, interactions with Nola, the clients, the aftermath, the money? On the streets? Pimps, the girls and his treatment?
5. The clubs, stripping, prostitution, the men? The girl in the house, the baby, her harshness towards Djay? The confrontation with him and leaving?
6. Shug, quiet, Djay, invited to sing, the birth of the baby, finding her identity in singing?
7. Nola, her background, education, with Djay, the range of clients, in the car, afterwards, the money, talking with Djay, money, observing? The recordings, turning off the fan? The success, violence and her reaction? Djay and his talking about her being in charge, canvassing the music with the DJs, the companies, her identity and final success?
8. Key, well off, relationship with his wife, his job, his manner, the meals at home, his wife and control? Personality, age, experience, friendship with Djay, interest in the music, hesitant, being persuaded? The church, inviting Shelby? Building the studio? The preparations, the work, playing the music, the rhythms, the lyrics? The issue of the microphone, buying the equipment? Developing the lyrucs and rhythms – hard out there for a pimp? Shug and the singing, his wife’s visiting and change of heart? The songs and their achievement? Recordings, the tape? The possible disaster – but success?
9. Skinny, his success, television, at the clubs, DJ and going to meet him, listening to him, Skinny wanting the drugs, the brush off, collapse, Djay’s anger, the shooting?
10. Djay and Shug, the birth of the baby?
11. Djay in prison, accepting his fate, the police and their music and his advice in jail?
12. Nola, going to the radio stations, the DJs playing it, to listen, Shelby listening, Djay in jail?
13. A sense of achievement despite difficulties, an ending in hope?
