This is a Festival review of The Great Hip-Hop Hoax (2013)
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3 December
This is a Festival review of The Great Hip-Hop Hoax (2013)
It is my approach, with films, to know as little as possible about them as is consistent with being able to make a choice whether to see them.
This one sounded as though it might share common ground with The Great Rock 'n' Roll Swindle (1980) - to which one member of the audience indirectly alluded in the Q&A with director Jeanie Finlay, by asking whether Billy Boyd and Gavin Bain are actually any good at hip hop - but it is far more interesting : in anything that has someone pretending to be something so long that it becomes questionable whether there is a way back, and, when there is a slide into the sort of existence that kept John Cooper Clarke out of circulation and composition so long, one is facing greater concerns than what The Pistols were in it for.
Mocked by A&R people when they travel down for 13 hours on the bus from Arbroath to London, because they are Scottish, but trying to get recognized for their skills in hip hop*, Boyd and Bain are only spurred on to make themselves be what is necessary to be taken seriously, and immerse themselves in sounding, in words and accent, as if they are from San Jacinto, California (under the name Silibil N' Brains). An initial gig gets them spotted by Chris Rock, who wishes to sign them and, as they need a manager first, sends them to Jonathan Shalit - who gets them a deal with Sony instead. Not, though, the end of their problems but, just before that deal, where they all begin...
Bringing the expectant original journey and disappointed return to life, where at least one of the young men is so hurt that he says that he did not speak all the way, Finlay uses shots of passing scenery to amplify the sense of what they had invested and how cheated and abused they felt. In between, waiting for and before the panel, we have the first use of John Burgerman's colourful and quirky animation, again with Boyd and Bain's comments in voiceover, and its character fits well the tone of the film. A third strand of material, other than recent interviews with Bain and Boyd, and withtheir friends, family and colleagues, is what was recorded on home video made at the time, along with gig and MTV footage and stills, all put together creatively and with flair.
As hinted already, the real focus of the film turns out to be what becomes of the relationship between the two men (although it is now seemingly healed, after they separately contributed to the film, on its being shown on the festival circuit) - it turns out delaying giving the go-ahead for the release of their first single, because Bain is not happy with it and wants to re-record it, means that, because Sony then enters a merger, it never happens, and Boyd essentially tires of waiting around, rather than getting on with life with the woman whom he had recently married.
It is clear from what Finlay says that, with the men giving or publishing accounts of what happened that differ from each other (or from verifiable fact, such as, as Finlay reported, contrary to one's claims to have crashed the BRIT awards and drunk with the stars), she had a difficult time trying to piece together a version of events for the film. She has a telling quotation from Boyd :
Lying is like a drug. Eventually you get carried away, and that’s where you’re out of control. Telling the first lie’s a bit like smoking weed, but after a while you need a stronger hit.
I also confess to having had trouble, which may be personal to me**, remembering which of Boyd and Bain I was seeing in the later interview footage, and in consistently relating that identification to the animation / period material - although, when they made it their business to behave madcap and provocatively to avoid serious questioning, they could act interchangeably (but, though no one realized why, even included the names of fellow hoaxsters Milli Vanilli in a lyric). For real deliberate grossness, for example, we see one openly urinating in public, whilst the other receives the urine on his palms and wipes it on his face ! At such times, it seemed to matter little which of them was playing which part.
This is a thoughtful and interesting piece of film-making, because, behind the antics, the two were so set on staying in character that they even kept in it with the sister of one of them, with whom they stayed when first in London, and also freaked out Boyd's bride not a little. The pressures that they put themselves under by living a lie may not be those weighing on a Raskolnikov, but, past the first steps, they had much to lose, if found out. Remarkably, Rock and Shalit are in the film, but, Finlay told me, the latter only agreed to be interviewed after three years, and she said that Sony had completely distanced themselves.
In the Q&A, someone tenaciously questioned why what he thought the standard of a t.v. documentary (indeed, the film commissioned by the BBC's Storyville series) was being called 'a film'.
Strangest question tonight - "you keep referring to your film as a "film", is that how you see it?" Me: "errrr, yes, it's a film!"
— Jeanie Finlay (@JeanieFinlay) December 3, 2013
I asked about Shalit's response to learning of the deception, describing it as 'philosophical, even amused', and wondering why he had not been more bitter - not appreciating that, as we were told, he was booed in the screening at Edinburgh Film Festival for denigrating Boyd and Bain's background as 'nothing'. It seems that Finlay believes that what Shalit chooses to express as what he thinks of it all now may be a convenient representation of his position...
Having seen Nick Fraser in interview at Aldeburgh Documentary Festival, I asked Finlay whether, as editor, he persuaded her to do or not do anything (having seen something of him in action). She said that he is a formidable figure, and explained that he had commissioned the film, but she had been working with others on the staff.
That said, he had had her pitch the project to him in the BBC canteen, with all sorts of famous faces around, and had banged the table, saying, for example, Make it better ! However, as the film and Finlay testify, he was duly satisfied that it would make a good documentary, which it does.
End-notes
* Apparently, the phrase rapping Proclaimers was derisively used.
** Since it is in the nature of a documentary only to give you the name in a caption on the first occasion (whereas a feature film will typically drop the name in where you cannot miss it and fail to make the association), and here we had two names for Bain.
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
