As note-worthy as the always-hilarious Dave Chappelle starring in this free-form comedy/hip-hop concert film starring seems to be, even more noteworthy is the fact that it was helmed by visionary director Michel Gondry (“Eternal Sunshine of the Spotless Mind”). Gondry's presence has prompted much speculation and curiosity of what exactly he'll bring to this documentary production. As those who've seen his music video and commercial work know, his stuff can be incredibly, wonderfully stylized. The notion of his creative flair and Dave Chappelle's comic prowess together on the big screen is plenty reason to get excited. Unfortunately, the possibilities go either unexamined or unfulfilled, although the pair do manage to turn in a generally pleasing and often very funny concert film – even if it leans more into the realm of the traditional than its talent usually ever does.
Hailed not long ago as “The Worlds Funniest Man”, Dave Chappelle has a lot to live up to in his comedic performance. Perhaps it was this pressure in part that abruptly drove him from his hit comedy show, “Chappelle's Show”. During his most honest point in the film, as he addresses the camera, he alludes to his meteorically successful career as more or less an act of charlatanism. Maybe the man is just being modest, but based upon his resent unfocused, nervous “Oprah” appearance, a deep insecurity is more likely the underlying motivator in his admission. If that's the case, it's not a stretch to imagine that Chappelle may feel that he's actually not good enough to carry an entire performance documentary, and therefore feels the need to surround himself with the surefire security blanket of dominant hip-hop artists of the day, such as Kanye West, Erykah Badu, and even a re-united Fugees (!). Or maybe the man just felt like throwing a big party. Whatever the case, it's unfortunately true that Chappelle is not quite at the top of his game for the whole of “Block Party”.
Yes, there are plenty of great jokes and funny material courtesy of Chappelle, but his consistent hammy camera mugging is something that no doubt plays better on smaller, more intimate TV screens rather than enormous movie screens. His party line-up, however, are more at home with their acts blown up forty feet tall. No one can deny that The Roots, Mos Def, and Jill Scott all dominate the stage as they perform, even if this particular brand of music isn't exactly one's thing (I must admit to not being a big fan, per se, but have mustered an appreciation for the great performers of the genre). At one point, Badu and Scott deliver one of the most intensely compelling duets of strange sounds and rhythms ever committed to film. By the time Lauryn Hill of the Fugees triumphantly takes the stage, the concert aspect of the film has wholly and completely taken over.
This is at once both exhilarating (especially if one is a fan of the music) and disappointing, and not only for the reason that Chappelle has relegated himself to a between-acts Master of Ceremonies role, never delivering an extended stand-up set. No, the real disappointment comes from the ultimately squandered, inspired pre-concert segments, in which Chappelle wanders through his hometown in Ohio interacting with locals who, suffice to say, don't fit the typical hip-hop/rap fan stereotype. Of course, these aging white folks all end up on chartered buses headed for Brooklyn, scene of the upcoming block party, all expenses paid. Also abruptly re-routed to Brooklyn is the Central State University marching band, which finds itself accompanying Kanye West in a blasting rendition of his hit “Jesus Walks”. Meeting all of these people and watching them interact with Chappelle is the most interesting and fun element to this film. The disappointment is that once the concert begins, the cameras lock onto the stage, virtually ignoring the audience, and forgetting all about these individuals. I really wanted to see how the older white folks were enjoying the spectacle, and hear what the experience meant to the kids in the marching band. But alas, in true Pennebaker-style filmmaking, once the musicians show up, we dont look back.
Those looking for a few solid laughs and a lot of well-executed urban hip-hop will not be at all disappointed with “Dave Chappelle's Block Party”. (Even if the rest of us will find the concert to drag a bit at times.) Chappelle never wears out his welcome, which seems to be exactly what he's afraid of. Even though his mugging doesn't always work, and even though a few of his more successful jokes are recognizable vaudeville oldies (the industrious hooker ‘making a little extra on the side' has got to be older than the hills, right?), his charm and wit make one wonder what an unrestrained, more Chappelle-centric feature directed by an unleashed Michel Gondry would be like.
- Jim Tudor (who just happened to be passing through the room when that “Oprah” episode was on. Really!)