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The kids in Boyz n the Hood didn’t have it that easy. Fans of Risky Business could rest assured that Joel Goodsen went on to be successful beyond Princeton. They had their whole lives in front of them. Before Boyz n the Hood, many teen movies sold the idea that it was guaranteed for their characters. Tre, Ricky, and Doughboy’s bond carries the film because the endurance of friendship is essential to teen movies.
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But as they grow, an early grave is a fate they hope to avoid because each of them-even Doughboy-wants more out of life than what South Central has to offer.īoyz n the Hood, similar to the coming of age films that preceded it, tackles the issues teenagers face on a daily basis. They aren’t even horrified by what they discover it’s something they grow accustomed to seeing. The corpse they ultimately locate isn’t the end of their journey, though-it’s an ominous casualty of their surroundings. As elementary schoolers, Tre, Ricky, Doughboy, and Chris follow train tracks to find a dead body in a not-so-subtle nod to another coming of age film: Rob Reiner’s Stand By Me. He wrote what he knew, and as a South Central native who didn’t stray far for college, Boyz n the Hood was his world. Like Martin Scorsese, Woody Allen, and Spike Lee before him, Singleton was inspired by his surroundings.
BOYZ N THE HOOD SCRIPT MOVIE
And the movie that we would make would always be something like what I did with Boyz n the Hood.”
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“So me and my friends would catch the bus up to Hollywood, and we'd go see the movies, and we spent the whole time going down Vermont talking about the movie we would make. “I loved the pictures, but none of those people looked like me,” Singleton admitted to NPR when discussing Boyz n the Hood’s 20th anniversary. Sixteen Candles, The Breakfast Club, Weird Science, Pretty in Pink, and Ferris Bueller’s Day Off helped define a decade and generation, but they only showed the teenage experience from an exclusively white, suburban perspective. Despite his appreciation for Hughes’s films, he noticed a glaring omission: any and all traces of the black experience. And as Singleton mentioned during an Academy screening and panel discussion about Boyz n the Hood last month, he even asked Hughes to read his script. As a Gen Xer and aspiring filmmaker, he grew up a fan of John Hughes’s work. He’s the same age as Molly Ringwald, eminent queen of the ‘80s teen movie, and Anthony Michael Hall, the genre’s reigning geek overlord. If the main characters make it to adulthood and out of South Central, congratulations are in order. The difference between them and Boyz n the Hood is what’s at stake in the latter. The principal characters are forced into adult situations, but many elements of the teen films that marked the 1980s are present. It’s a coming of age story-one that shows, in explicit detail, how children are victimized by their surroundings.īoyz n the Hood, the work of a 22-year-old writer and director, is also a teen movie. Boyz n the Hood is irrefutably urban, but simply categorizing it as an “urban film” undercuts the blunt force of its impact. The police, tasked with restoring and maintaining order, are an equal threat. Hope isn’t waiting around the corner for these kids, death-in the form of society’s ills (drugs, disease, violence)-is. Doughboy has a conscience, but has already been in and out of jail. Ricky is a prodigious athlete and teenage father hoping to provide for his family with his gift. The whip-smart Tre is college-bound, and although he benefited from spending adolescence under the guidance of his principled father, Furious, his safety isn’t guaranteed. The film follows Tre Styles and his friends, half-brothers Ricky and Doughboy, as they navigate South Central Los Angeles’s minefield from childhood to the cusp of adulthood. The ghetto eats its young.įor 25 years now, John Singleton’s brilliant debut, Boyz n the Hood, has been lionized as a definitive hood classic for painting a remarkably evocative image of what it’s like to grow up in a war zone. The ghetto is where detainees are waterboarded by life. Something is ghetto when it’s left to rot by the rest of the world. Your locker isn’t “ghetto” because it won’t open and your iPhone screen damn sure isn’t “ghetto” because it’s cracked. In many cases, they’re also the necessary reminders that your remote control isn’t “ghetto” when it doesn’t work. The crème de la crème are layered scans of life in the ghetto.
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Films are portals into worlds hood movies are no different.