Krush Groove (1985) Warner Bros./Musical-Drama RT: 95 minutes Rated R (language, violence, some sexual content) Director: Michael Schultz Screenplay: Ralph Farquhar Music: David Lombard Cinematography: Ernest Dickerson Release date: October 25, 1985 (US) Starring: Blair Underwood, Run-DMC (Joseph “Run” Simmons, Darryl “DMC” McDaniels, Jason “Jam-Master Jay” Mizell), Sheila E., Kurtis Blow, The Fat Boys (Mark “Prince Markie Dee” Morales, Damon “Kool Rock-Ski” Wimbley, Darren “Buff Love” Robinson), New Edition (Ronnie DeVoe, Ralph Tresvant, Bobby Brown, Michael Bivins, Ricky Bell), Lisa Gay Hamilton, Rick Rubin, Richard Gant, The Beastie Boys (Adam “Ad-Rock” Horovitz, Adam “MCA” Yauch, Michael “Mike D” Diamond), LL Cool J, Full Force (Brian “B-Fine” George, Paul Anthony George), Karen Moss, Daniel Simmons, Chad Eliot, Galaxy, Heidi Smith. Box Office: $11M (US)
Rating: ***
What if I start my review of Krush Groove with a little freestyling? Yes, I think that would be appropriate.
I’m the King of Flicks, there is none higher! Sucker MGs (Movie Guys) should call me sire! To burn my website, you must use fire! I won’t stop watchin’ till I retire!
Admittedly, I’m not a rapper, but Krush Groove inspired me to try my hand at it. In 1985, rap was an up-and-coming musical style. In the vernacular of rap pioneers, it was fresh and it was def! That’s how audiences saw Krush Groove when it hit theaters in October ’85. It’s loosely based on the inception of the Def Jam record label and the hardships faced by the artists and studio founders before their meteoric rise to the top of the charts.
Russell Walker (Underwood, Just Cause), a character based on Russell Simmons, is an up-and-coming record producer and his label Krush Groove (standing in for Def Jam) has just released “The King of Rock”, a hit single by Run-DMC. A hit record is the worst thing that could have happened to them according to co-producer Rick Rubin (playing himself). They don’t have the money to press more records. After being turned down by his own father and the bank, Russell secures funding from loan shark Jay B (Gant, Rocky V). Run-DMC quickly becomes the hottest act in the underground rap scene.
In a parallel storyline, a trio of obese high schoolers calling themselves “The Disco Three” wants to be rap stars. Success keeps eluding them until they change their name to The Fat Boys. Rivalry rears its ugly head in the form of a subplot involving Russell and little brother Run competing for the heart of R&B singer Sheila E.
Meanwhile, things aren’t going so well at Krush Groove Records. Their two top acts, Run-DMC and Kurtis Blow, sign with another label in order to advance their careers. It’s a severe financial setback for Russell. Unable to pay back his loan, the shark sends his guys (R&B group Full Force) to “collect”.
I saw Krush Groove opening weekend at a Saturday afternoon showing at the City Line Theater. It was a packed house and I was literally the ONLY white person in attendance. Everybody seemed to be having a great time and so was I even though I wasn’t familiar with most of the artists. I only knew of New Edition; they had the hit song “Cool It Now” the year before. They perform “My Secret”, just one of several good songs heard throughout the movie. Krush Groove has one of the best soundtracks of the 80s. It also features many electrifying performances by the musicians that make up the cast. Sheila E., a protégé of Prince, performs “Holly Rock” and “A Love Bizarre”. Run-DMC’s numbers include “King of Rock”, “It’s Like That” and “Can You Rock It Like This”. The Fat Boys do a great comical number “All You Can Eat” at a Sbarro buffet. The Beastie Boys, who show up for one scene, do “She’s On It”. Blow sings “If I Ruled the World”. LL Cool J, in a cameo, busts a rhyme called “I Can’t Live Without My Radio”. The performances are all lively and the music is just great. Remember, this praise comes from somebody who generally doesn’t like rap.
I’ve talked a lot about the music in Krush Groove but what about the other components? The acting is actually pretty good. To be fair, the artists are playing themselves so it doesn’t require too much effort of their part. It works to their advantage that screenwriter Ralph Farquhar takes the time to develop their characters. He gives us a good sense of each group member’s individual personality. Kool Rock-Ski of The Fat Boys doesn’t care about fame and success; he only cares about the music. Russell is shown to be somewhat complex. It’s implied that all he wants to do is please his father (Daniel Simmons), a minister who suggests that God is testing his son which is why he won’t lend him the money he needs. In the role, Underwood does fine work. Sheila E. shows real potential in her first acting venture. The Fat Boys are hilarious.
The plot of Krush Groove is basic and formulaic. The drama dealing with betrayal, loyalty, love and the price of fame is hardly original; we’ve seen it countless times. However, it’s compelling enough to hold the audience’s attention until the next number. What makes Krush Groove fresh is its setting in the New York rap scene of the mid-80s. It’s interesting to observe how much different the genre was then. It was fun with artists rapping about things like sneakers, boom boxes and the love of food. It’s a reminder that rap wasn’t always profanity-filled garbage about sex, violence and glorifying the criminal lifestyle.
Director Michael Schultz (Car Wash) does his usual good job. He has a genuine feel for the tone and feel of urban settings. The characters in Krush Groove feel authentic. The street slang they use never comes off as forced or rehearsed. It hits all the right notes in this respect. So what if the story is completely predictable? We were never promised anything other than a fun musical in which popular rap artists put on a show. Isn’t that the point of a musical? The joy of the music is infectious. In fact, I feel another impromptu performance coming on.
Whose house?! RUN’S HOUSE!!! I said, WHOSE HOUSE?! RUN’S HOUSE!!!
Everybody say “FAT BOYS!” FAT BOYS!!!
You see, I told you.
