Slim Shady Lite
by Nathaniel
of The Film Experience

It's difficult to see the forest for the trees when judging a film about a notorious musical superstar. Personal bias is everywhere with public figures this well known. Just think of the critics scrambling for invectives whenever Madonna's iconic visage appears onscreen. So, in light of this element of human nature and this detriment to criticism, I tried desperately to remove what I knew about Eminem from what I was seeing onscreen in 8 Mile. I quickly found that the filmmakers were trying just as desperately to subvert my knowledge rather than ignore it. Unfortunately for the film, it's still fairly easy to see right through their crowd-pleasing PR game. America loves this brat. If you're still holding out, here's a kinder and gentler version of the model to win you over!

We're clearly meant to associate the film's simple storyline with Eminem's own infamous life, but it's not truly a biopic. In real life Eminem has been widely acclaimed for his magnetic hostility. He has also been a controversial figure for his homophobic and misogynistic views (his mother and ex-girlfriend are favorite targets). Yet, here in this film, Eminem becomes Rabbit. He's now practically a holy vessel for all that is good in the world. He defends a gay co-worker from antigay slurs. He begs his mother to live a better life, and defends her when her no-good boyfriend crosses the line. He chastises a friend for carrying a gun. He preaches to his friends to do something with their lives rather than sit around talking about doing something with their lives. He tries hard to make it to work on time and understands the importance of keeping a job, even a mind-numbing factory position. Rabbit, as written, is a saint. Surprisingly, it's only Eminem's innate hostility, his anger-fueled persona that rescue's this fictional rapper from complete blandness. He's good onscreen playing essentially the sacred and enlightened version of his own troubled self.

The production team assembled here is at the top of their game, which also helps to obscure the dubiousness of this shell game. Curtis Hanson has definitely elevated the product, once again demonstrating his control of place, characters, and specific social milieus. The cinematography by Rodrigo Prieto is also top notch. Detroit looks deliciously delapidated and he adds precious grit to the derivative script. Brian Grazer the producer, is also up to his old tricks. He shepherded the softening of A Beautiful Mind's edges last year all the way to the Oscar podium. You can see his guiding hand in every obvious ploy at the canonization of this new family-friendly Eminem.

The actors are mostly fine, too. Mekhi Pfifer takes best-in-show honors as Rabbit's best friend, and vocal supporter. He has terrific chemistry with Eminem, highlighted in a genuinely easy-to-like scene where they sing along (and alter) the lyrics of "Sweet Home Alabama" outside Rabbit's mom's (Kim Basinger) trailer.

But all of these efforts amount to a lot less than they should when it comes down to the film itself. There just isn't any real conflict here. The hero has so little to overcome that every triumph feels preordained. He has a debilitating stage fright which he'll manage to overcome - with virtually no effort - in just seven days time. In that same time he'll also go from nearly-fired at work to a dependable employee, respected by his shift manager. It's just all so easy for him. In one week's time he overcomes all immediate obstacles. One gets the sense that his next achievement, perhaps the following week, will be leaving the ghetto for good.

Inspirational films need to feel inspiring, and this story, an old and predictable one, derives its only real power from the music and the fury of the rapping in the clubs. The rap battle that closes the film is truly engaging. But there's something wrong with the mixed messages and hagiography of Eminem's new persona, for those paying closer attention. 8 Mile is a killer rap musical. As an inspirational drama, however, it's completely troublesome. Given that its subject matter is the hip hop world of the inner city where the phrase "keeping it real" is a permanent motto, this film is, ironically enough, suspiciously phony.

©2002 Nathaniel Rogers
CineScene