User reviews

Much like the later documentary STYLE WARS, this is a portrait of the blossoming New York hip hop scene of the early 80's, encompassing rap, break dancing, and graffiti art. However, this film weaves in a fictional plot line about a tagger (real graffiti artist "Lee" Quinones) struggling with his persona and his art and its place in society. As a film, the word that comes to mind is "amateurish". The cast consists mostly of real personalities from the scene, and none of them are particularly good at acting. The photography is lackluster and the editing is sloppy, and the low budget is obvious (a scene of people frolicking in a pile of money takes on an unintended comic edge when it turns out to be all $1 bills). But as a celebration of artistic expression, it's a joy. If the dramatic scenes aren't exactly Oscar-caliber, they're at least heartfelt, and serve well enough as the glue between the performances, which are electrifying. Featuring Grand Master Flash, Busy Bee, Lisa Lee, Double Trouble, Rock Steady Crew and more, and culminating in a dynamite outdoor amphitheater show, it's a showcase for a lot of great talent. Not the best filmmaking in the world, but a hell of a party.

Legendary New York graffiti artist Lee Quinones plays the part of Zoro, the city's hottest and most elusive graffiti writer. The actual story of the movie concerns the tension between Zoro's passion for his art and his personal life, particularly his strained relationship with fellow artist Rose.

Director Charlie Ahearn was approached by graffiti artist Fred Braithwaite, later known as Fab 5 Freddy, who wanted to make a film about hip-hop (as a broad culture encompassing emceeing, DJing, graffiti and break-dancing) and graffiti as an art form. Braithwaite was an acquaintance of Lee Quiñones, whom Ahearn had long-wanted to film and whose murals he has always admired. Braithwaite brought Quiñones in to meet Ahearn and the three began discussions about creating a hip-hop movie.

As a film, this movie is pretty lacking -- the plot is weak, and the acting is completely awful. But that was never the point. With most of the characters ad libbing their lines and actually being real life hip hop and graffiti artists, this almost serves as a pseudo-documentary. Probably no other film better captures the rise of hip hop than "Wild Style".

This film does not have a very good plot or actors, but it is a must see for fans of Hip-Hop. This film shows us what Hip-Hop started out as and what it was meant to be, before it was corrupted by the mainstream media. Hip-Hop in the mid seventies was a form of free expression for the young people living in the boogie down bronx. D.J.'s started looping breaks just like the Selectas in Jamaica, except they were using Disco and Funk singles instead of Reggae and Ska, and the crowds responded to this by doing crazy acrobatic or robotic dance moves. The D.J.'s called these people breakers, breakdancers or b-boys/girls. The kids started forming D.J. and breaker crews and they would tag the names of their crews on the subway trains and alleyways in the Bronx using spraypaint. D.J.'s used to shout out the names of the breakers and crews by saying, "Yo crazy legs is in the house.", they would also brag about themselves on the mic by making up rhymes about themselves. But as the break looping became more artistic and complex to keep the b-boys/girls breaking the D.J.'s had to get someone else to do the rhyming. Thus giving us the emcees or M.C.'s or Master of Ceremonies.

Wild Style is not a documentary, despite what it may look like from packaging or even camerawork. It's a pretty slow-moving story of a man who writes on walls and his girlfriend's alleged infidelity with another man who writes on walls. While this love triangle is being played out, there is a journalist woman who wants to find out about a new sub-culture that is happening in the Bronx. There is also a musical event being planned in the amphitheatre in the park to showcase the local musical talent.

If you were reading the synopsis to this film anywhere, it would probably read something like that. But Wild Style isn't about the story. It's not about the acting, the direction or even the camerawork or sound recording (although the soundtrack is important).

It is a film that has shaped a generation, purely with the members of the cast and the records used in the soundtrack. Wild Style is a historical document. It perfectly captures a time and place - the Bronx, New York 1982 - and most of the figures that made that time and place so special. The plot is merely a device with which to string along a series of scenes of rappers, DJs, B-boys and spraycan artists. Some of these people were the roots of the hip hop movement. To see the impact that this film has had, look at how many times the soundtrack has been sampled - not only the dialogue (Tommy Tee, Beastie Boys, Cypress Hill, DJ Premier) but the backing loops. 'Tracks' such as Down By Law have become standards - no, classics - in battle cyphers and old school hip hop nights all over the world.

It's basically a visual dictionary of Old School hip hop royalty -

* GrandMaster Flash in what looks suspiciously like his bedroom cutting up the Headhunters' "God Made Me Funky" and then Bob James' "Take Me To The Mardi Gras" (although on the UK video re-release it has been replaced on the soundtrack with a Chris Stein co-produced track from the OST).

* The Rock Steady Crew intercut with Flash, walking up the hill in the park with a roll of lino on their shoulders.

* Fab 5 Freddy as the svengali of the film, leading others into the realms of the hip hop landscape (and hustling other members of the cast for money with card tricks).

* The Cold Crush Brothers and the Fantastic (Romantic) MCs in the basketball court.

* Double Trouble on the stoop ("Here's a little story that must be told...").

* 'Lee' Quinones and Lady Pink doing their thang on the walls of NYC - Lee's 'hands' piece being done at the same time as the RSC break and GM Flash cuts.

But enough of my salivating. This film is a slice of history for hip hop fans as much as footage of the 1966 World Cup Final is for British football fans. It should really be watched along with two other essential old school hip hop films - Beat Street (1984) and Beat This - A Hip Hop History (a BBC-TV film, 1985). Watching all three of those in one is an absolute education for anyone out there who has even a passing interest in hip hop (or even just rap) music. As a film, OK, it's limited and trite. The plot is pretty much non-existent and the acting is pretty variable. But no-one should watch it for that. Its whole reason d'etre is to provide an overview of a time and a place, when hip hop was innocent and a way of life, instead of a calculated business venture.

Beat Street was a bigger budget version of Wild Style, even down to the big name guest stars, the graffiti-artist-being-thwarted theme and the big show at the end of the film. It's easier to watch, but doesn't have that raw, cinema-verite style that Wild Style has.

Some trivia on the film. Chris Stein from Blondie co-produced he backing soundtracks that the MCs rap over. The records that the DJs use were pressed in very VERY limited quantities, and were not the result of crate digging. They were made for the film... According to popular legend, the opening scene of the (graffiti) bombing of the train was the only scene that Charlie Ahearne - director - could get the money together to do 'properly' (ie legally). If the rumours are to believed, the rest of the film was done 'on the run' - without permission.

If you like hip hop, are interested in it or even if you have never really thought about it, then watch Wild Style. It sums up a place and time and a FEELING quite unlike anything else. Now hip hop is the world's biggest selling music, watch this film to see where it came from. It'll probably make you reach for the nearest tracksuit, Kangol and lino and have you down the park in a fit of nostalgia.

I had heard that Blondie was in this movie, but was disappointed to find that they didn't appear, although two Blondie songs were used as background music (including Rapture). Chris Stein also played synthesized guitar for the soundtrack. This film is very good as a documentary of the early days of old school rap (it's fascinating to see Grandmaster Flash & Busy Bee work) & graffiti (we get to see all the ugly subway train car logos we could ask for, & some of the beautiful wall murals), but in reality, the movie is only a pseudo-documentary. Real graffiti artist Lee Quinones (Lee) plays graffiti man Zoro in the movie, & Fab 5 Freddie tries to hook him up with Manhattan art gallery types. As a movie, the plot is childish, the subplot (Lee & Pink's romance) undeveloped, & the acting is, well, adolescent. As a documentary, I give it 8/10; as a movie, I give it 2/10; overall 5/10.

They call this the film that launched a thousand back spins. It was this premier hip hop feature film, along with the 1984 Arena documentary Beat This: A Hip-Hop History, that helped shape the global consciousness of the world conquering hip-hop eruption. The title refers to the elaborate and near illegibly creative style of graffiti pioneered by these artists and the film features many of the legends of the era; Grandmaster Flash, The Rock Steady Crew, The Cold Crush Brothers, Fab Five Freddy all performing in real life scenarios. It was fascinating then, as it is now, to see the original elements of hip hop culture. There's little emphasis on guns, bitches and bling but a hyper-verite representation of MC-ing (rap), B-Boy (break dancing) and bombing (graffiti) at its spiritual home – New York. At the time this footage – and it call it so due to the lack of substantial plot – was revolutionary, for the first time people outside of this small but exploding community saw what life was like in the home of hip-hop.

The plot centres around Raymond - Puerto Rican graffiti legend Lee Quinones. Admittedly, I hadn't heard of him, even with a fair background knowledge of the films topic (hence fancying blowing 50p on this in Save the Children) but he is one of the founding fathers of the art form even having piece in America's national galleries. Inner city hood by day – if not a very gawky looking one from a 21st century perspective – and mysterious graffiti hero, Zoro, by night. The film follows his life as he tries to get the girl and make some cash and manage to express himself through his spray can, whilst the scene he's a part of throws itself at the screen. The problem here as usual is that there is a loose plot woven around these real life events. The characters are designed to accurately portray their respective figures. This is in essence an exploitation film ... hmm... hip-hoploitation is the best I can do there. The plot is there purely to make a feature of the, soon to be highly lucrative, hip hop culture of the early 1980's.

The passion of the subculture is captured really well through the looking glass of a cheap debut feature. Ahearn, who wrote produced and directed the film evidently really believed in the power of the source. Another example of this is Tony Richardson's 1955 short Momma Don't Allow that captured a night in the lives of the burgeoning youth movement of northern England, pre rock n roll. It shows us everyone's fight for expression, to be the face everyone recognises, to be a hero for one day. In the gritty majesty of seeing your art, hastily sprayed on a train, in the night under fear of arrest, charge through the city on the highest platform for everyone to see and admire. In the real life performances of these early rap pioneers in murky red lit clubs storytelling and bragging in a new exciting form and having a blast – and the rapping does stand up much better than you'd expect even if it may wear thin after a while. Some of the performances really are brilliant and I'm always a sucker for break-dancing and graffiti murals unfolding before your eyes.

Certainly, to your modern hip-hop fan the film is laughable, it of course dated but to those willing to give it a bit more of a chance its a truly remarkable view. I certainly enjoyed it on some level due to the Warriors-esquire vibe going on but Quinones although certainly qualified to represent his generation does look pretty geeky for a supposed hip hop legend. The style was still emerging and dodgy seventies looks still plague elements of this film. Overall its a little short, it's a cheap ropey movie but it did its job and is rightfully a genre classic. Any film that can capture the spirit of a subculture as it arises deserves a place in history. It's not really expected to be a good story, a good film, its just a document - but as it happens it's alright. I enjoyed it, but, admittedly, it will be a while till I fancy watching it again.

If you want a movie with a plot and a story, this isn't for you. If you want to see the founding fathers of a musical movement which changed the world, this is it. It's the real deal - the artists play themselves, and there are extensive breaks showing all that was wonderful about rap, graffiti and break-dancing in NYC in the early 80's. I was lucky enough to live there at the time, and I will never forget the amazement of seeing full-painted subway cars, and hearing the unique beats of Red Alert and his kind on Kiss and WBLS. This movie captures a wonderful moment in time.It was the best of times, it was ... the best of times. I have no idea where all these people are now, but if you ever read this - thanks - you changed my life.

If you think you are a true Hip Hop fan and when I talk about Wild Style and you are asking me "What?", then something must be wrong...

Wild Style is the first and true Hip Hop documentary/film about a culture that remained one of the strongest of the past few decades. Never has there been an artform of music that was just basically made of other music styles, but has managed to grow and evolve on its own.

If you want to understand the basic elements of Hip Hop (Rappin', DJin', Breakdancin' & Grafitti) then don't look any further, here's what you need.

As one of the top titles wanted on my "Please-Release-It-On-DVD-List", this movie is not a movie in its real form. Because it was pretty much lowbudget, it has a feel of documentary, but it certainly has a story. Not very much, but the knowledge that almost everyone of the cast was/is someone in the Hip Hop Community 1982, makes this title very interesting to see what they contribute to this movie, and Hip Hop in general.

You've probably read the plot outlines in other reviews, so I won't tell you anything you've already read in those reviews. All I can say is, if you wanna know what the TRUE meaning is of Hip Hop, instead of the BLING-BLING type o' Hip Hop which is totally (well, almost totally) commercialised, see if you can get a copy of this movie and "take a trip down memory lane", like my man Nas said in his 1994 DJ Premier produced cut "Memory Lane (Sitting In Da Park)", another Hip Hop Gem..

RECOMMENDED!!

As a time capsule of a particular scene, this is incredible with the birth or rap, breakdancing, graffiti art, etc. all on display. That said, it's barely a movie. It's all extended concert scenes with no plot. Add in terrible acting, and poor editing and framing and you get an objectively bad piece of work that still manages to be extremely important and vital.

As much a document of primordial hip-hop culture as it was an arbiter of what hip-hop would become(for a time), this film perfectly encapsulates the earthshaking inventiveness and fun of hip-hop and, upon this viewing, reminds me of how much of that loose, experimental spirit is missing in the current scene. The flimsy story(carried, as it were, by the singularly inarticulate graffiti legend "Lee" Quinones) is aptly subordinate to the raw, bouncy hip-hop soundtrack(provided by Blondie's Chris Stein and the ever-smooth Fab 5 Freddy, who folks of a certain musical disposition might remember from Yo! MTV Raps and who also co-stars). A must not just for hiphop heads but also for anyone striving to understand why this "fad" caught on like it did. 10/10

The likes of a film such as Wild Style will never, unfortunately, be made again. Mainly because this was the culture of hip hop in a form of infancy, still naive to the ways of Hollywood and the music industry.

I first saw this when I was 16 years old - although it had been released 5 years prior, though not to my knowledge in the UK - and it has remained stamped in my memory ever since. Who cares if the actors weren't actors or if the camerawork was slightly dodgy in places ("look at the cinematography on the motherf****r!" - Chris Rock). It was a snapshot of a time and a place and that counts for than a thousand over-processed, overdone Hollywood versions of hip hop (Beat Street? C'mon!!)

In it's most basic essence, the director Charlie Ahearn just let the 'actors' improvise their lines with a few plotlines to guide them. These were real people. PHADE is actually FAB 5 FREDDY who DID promote shows and WAS actually an ex-graffiti writer. ZORO WAS a top writer and is played by graffiti legend LEE QUINONES. The 2 rap crews, COLD CRUSH and FANTASTIC 5 were vicious rivals in real life (although to my knowledge never actually participated in any basketball throwdowns ;)

I fully recommend this to any hip hop fan and try to steer New-Schoolers to it too.

Buy the Region 1 dvd version for the great FAB 5 FREDDY/CHARLIE AHEARN commentary track.

No true hip-hop head should go without seeing this movie. It is the first and probably the most accurate representation of the early hip-hop scene. IMDB has categorized Wild Style under the genre of documentary. Although the movie has a documentary feel with footage of hip-hop heads in action, it is not a true documentary because it contains a plot line which was scripted.

The plot revolves around the character of Raymond, who is played by the legendary graf artist Lee Quinones. We see what happens to him as his art starts to receive recognition from wealthy art connoisseurs. He has many personal struggles as he deals with this new attention. But it seems that all of his problems are resolved when he is painting a mural for a large hip hop concert and realizes that his art shouldn't always be about him.

There is plenty of footage that represents all four elements of hip hop: the MC, the DJ, the graf artist, and the B-boy. The Double Trouble scene and the basketball rapping scene were recently remade in Sprite commercials (Nas, Kobe Bryant, Tim Duncan, etc.) to appeal to the hip hop crowd. We also see Lee Quinones in action in several scenes as well as footage of Grandmaster Flash. My personal favorite is the footage of a young Rocksteady Crew (Crazy Legs, Prince Ken Swift, Mr. Freeze, Frosty Freeze, etc. I think they're about 14-15?) performing at the concert at the end of the movie. And there are many other memorable scenes.

Although Wild Style is not a true documentary, I think it has preserved the true essence of hip hop during that time for younger people (such as myself) to experience. Truly a must see and a classic.

Featuring some of the biggest names in hip hop, Wildstyle is the seminal docu-rama on this lifestlye. B-boys and b-girls, graf artists, DJs, MCs and larger than life characters are feature in this flick that is, ultimately, a real-life documentary on the early movers and shakers of the hip hop movement.

Anyone who listens to rap, wears fat laces, loves the 'old-skool' look, spins bits of plastic on two (or more) turntables, or is just curious about hip hop should have watched this film at least five times! A to the K? What acting there is in this film is weak, but it's made up for by appearances from Grandmaster Flash, Double Trouble, Crazy Legs and gang, as well as a whole host of graf artists including Lady Pink and Lee. There is a loose plot-line but you soon realise that this isn't really important to what is captured on film. What is captured is the vitality and energy that is hip hop and no other film (including Beat Street and Style Wars) comes close.

To start, Wild Style is not a documentary despite what it says on IMDb (just saying ... minor gripe), although it was sort of shot like one and it does a fantastic job of documenting HipHop in 83 quite lovely.

With that said, Wild Style doesn't look like your typical Hollywood type movie (those came later). Younger generations may have a hard time understanding the praise it receives, or the reasons for its cult following status. It doesn't have the big budget, or hit all the familiar notes casual moviegoers are accustomed to. It's far too gritty and raw for that. Charlie Ahearn took the conventional rule book and threw it out the window, but that's all part of the charm. For us Old school, New school, True school, or Too cool for school HipHopers in the audience, our culture was never represented on the big screen like this before, and though a few may have tried, nobody had done it quite like this since.

Finally, the art in Wild Style is presented to us, not by actors, but by the artists who were there when this phenomenon was emerging. The viewer comes away with a good understanding of HipHop's four elements and how they define a culture. If nothing else, Wild Style serves as a great time capsule piece during HipHop's infancy.

Wildstyle is one of my favourite films. It perfectly captures the vibe of the early years of hip-hop, and is still miles better than recent hip-hop films.

This film is worth watching for the soundtrack alone.

Put it simply, this is a piece of history in hip-hop. This is a must-have for any hip-hop fan with legendary performances from The Cold Crush Brothers and Grandmaster Flash (yes, he always kept his turntables in the kitchen). Because of the poor technical quality of the film itself and of course the diabolical acting, the only reason I couldn't give this a full 10 stars. But for that, you don't buy Wild Style, the real selling point is the historic nature of the performances.

I took my friend up to LA back when this movie was released in '82 to see this in an independent theatre. We were both awed with this! In my mind this movie started the popular movement (yes, I know the music was on KSPC around this time too, but the rest of LA didn't know about the music).

Two years later "Beat Street" came out on the big screen, which is 1/1000 of this movie, and the popular crowd went with that, and the music all seemed to go "I'm poor/shot at/oppressed by the white man and I'm coming at him with my gun" as the years went on.

That's so sad to me - the genre could have had a meaning, a purpose, a style like this film shows. I think what instead happened is the studios just cashed in on whatever sold the most. Kind of a top 40 of rap/hip-hop. Get this film/video if you want to see where the genre really came from and was about back then. Get it if you want to see people and soul. Get it if you want to see people with a purpose.

When I first saw it as a VHS rental during the 80's, I thought it was wack. Later in the late 90's, I watched it again and fell in love with it.

DJ Semtek wrote a book called "Hip Hop Raised Me." In there is a historical documentation through words and pictures of hip-hop. He mentioned "Wild Style" when he wrote:

"In 1983, as the sound was developing, Charlie Ahearn visualized hip-hop culture with "Wild Style," the first film to truly capture the four elements of hip hop: graffiti artists, MCs, DJs and B-Boys."

"Wild Style" predated "Krush Groove," "Beat Street," and "Breakin'," three iconic movies about hip-hop. Today was my first time ever seeing "Wild Style" and I loved it like I was watching it in 1983. The cinematic quality is lacking as is the script and the acting, but the mission was accomplished. Ahearn et al got a film made about a very new form of music and a very new culture that would go on to become a permanent fixture in Americana.

I am not into Graffitti in the sense that I spray ... but I am into it in the sense that some artists in Toronto and in other parts of ontario..are absolutely amazing in their ability to draw or create from scratch. I do not condone the destroying of public property in order to show graffitti...and so I do wish that there was a way that these artists could turn their talent into something much more positive that the general public would like just as much as I like their creations. Maybe...what I can do to help is to just start by recommending this film to anyone who doesn't really know that much about the graffitti scene.

I have to agree with the rest that as a 'film', Wild Style is pretty poor. Poorly acted, paced and directed. It's main purpose is to capture a special culture, and it does just that so extremely well.

Nothing else comes close to capturing the undiluted, un-hollywoodized spirit of the early grafitti and hip hop communities.

My only real complaint about the film is that it leads people to believe the hip hop community and the graffiti community are one in the same. They're not. They did both begin to pick up steam at around the same time and in similar places but there's no direct connection between the two.

This might seem like a quibble to some but for real graffiti writers who see what they do as art, there's a strong desire not to be associated with things like "gansta rap". There is in fact no real reflection of what's going in the graffiti world in the hip hop world and vice versa.

Still, for fans of either or both, this movie is a treasure.