While the discography of the late, great musical icon Prince remains revered amongst serious music aficionados, his filmography hasn't received a similar level of respect since his final narrative feature "Graffiti Bridge" was released in November 1990. Hearing the pleas of Prince fans and movie critics to return to the 'rock musical' formula that made his 1984 film debut "Purple Rain" (undeniably his best movie) a box office smash, following the commercial failure of his admirably ambitious, classical Hollywood-meets-French New Wave romantic comedy "Under the Cherry Moon", it made logical sense for Prince to return to the character that kickstarted his film career: The Kid.
For years, I've always heard of how terrible "Graffiti Bridge" was, to the point that I never bothered to listen to the soundtrack which, like the "Under the Cherry Moon" soundtrack "Parade", was highly praised though the movie it's based on wasn't. And with my recent, first-time viewing of the film serving as the basis of this review, I can finally say that I listened to the soundtrack as well.
Set roughly six years after the events of "Purple Rain", "Graffiti Bridge" finds our reserved hero The Kid co-owning Glam Slam, one of four nightclubs in the Seven Corners area of downtown Minneapolis, with rival performer Morris (played once again by the scene-stealing Morris Day). Throughout the film, Morris has his hands full, going out of his way to make his Pandemonium club THE spot for nighttime entertainment while aggressively attempting to seize full control of Glam Slam, Melody Cool and the Clinton Club (owned by legendary funk musician George Clinton). And similar to Apollonia (Apollonia Kotero) in the last film, he sets his lusty sights on Aura (Ingrid Chavez), an enigmatic woman who - surprise, surprise - The Kid instantly falls for. Burdened by the negative reception of his spiritually-driven music by Seven Corners citizens and the threat of losing his business to Morris, The Kid finds the answers through his interactions with Aura, whose purpose for being in his life at this time takes on a deeper meaning as the film progresses.
Prince's screenplay transports The Kid, Morris, Morris' band The Time and even Jerome Benton, returning as Morris' equally smarmy assistant Jerome, out of the pop rock-fueled, mid-80s setting of the last film into the beginning of the 90s, where R&B, hip hop and new jack swing will integrate themselves into mainstream music. Tapping into the massive popularity of MTV, Prince also made the film's musical sequences look like ACTUAL music videos, from the on-stage performances of Prince's "New Power Generation, Part 1" and The Time's "Release It" to the off-stage performances of the grandiose "Tick, Tick, Bang" and the ridiculously catchy "Thieves in the Temple".
The set design of "Graffiti Bridge", handled entirely in Prince's own soundstage inside his Paisley Park estate, feels radically different from "Purple Rain". Here, we're treated to a multi-colored, neon-lit, almost noirish-looking Seven Corners, shot BEAUTIFULLY by the late, great cinematographer Bill Butler. Even the titular "Graffiti Bridge" - an actual graffiti-covered bridge where Aura's character is introduced - looks like something out of a fairy tale, complete with soft lighting and warm-colored backdrops.
Prince must've taken the misogynism criticisms of "Purple Rain" to heart as The Kid comes off as sympathetic and caring towards Aura - a far cry from the toxic way he viewed women prior to his moment of clarity following his father's failed suicide attempt. Interestingly, you can see shades of Prince's gigolo character Christopher Tracy from "Under the Cherry Moon" in the pervy ways Morris views and treats women. And in a way, Jerome Benton plays a less charming and more childish version of his character Tricky, Christopher's partner-in-crime, alongside Morris. The Kid also saves Aura from being deflowered by both Morris and Jerome in a sequence that's a lot less funny than it sets out to be given its context, but shows a startling amount of maturity in Prince's on-screen character since "Purple Rain".
Despite its sporadic moments of darkness, "Graffiti Bridge" is significantly upbeat and light-hearted, thanks largely to the intentional (I really have to stress this) UNREALITY being presented. And compared to the grim realism of "Purple Rain", it's not meant to be taken TOO seriously! In the world of this film, Morris Day has a bunch of goons on his payroll like he's Al Capone. His introductory sequence in particular is an oddly humorous tribute to a memorable scene from Brian De Palma's classic crime film "The Untouchables". Characters perform musical numbers on the streets with no hesitation and little preparation, like the "introduced" Tevin Campbell in his delightful musical and film debut moment "Round and Round". FOUR clubs exist in the same area, each vying for the biggest patron attendance! And as hinted throughout the film, angels exist - or maybe they're in The Kid's mind.
Seeing "Graffiti Bridge" during what was essentially a Prince movie marathon I willingly decided to watch (I highly recommend die-hard Prince fans do the same thing, even if it means buying the "Prince Movie Collection" Blu-Ray set), I couldn't help but imagine how viewers in 1990 - enthusiastic to see a 'long-awaited' sequel to "Purple Rain" - responded to it. Bemusement, speechlessness, annoyance, anger.....probably all of the above. And I can see why some fans of "Purple Rain" and Prince's discography swept this movie under their mental rugs.
But for me, I saw someone brave enough to express his growth as a person and a musical artist through the canvas of the silver screen. Prince in 1989 (when this film was made) wasn't the Prince of 1983 (when "Purple Rain" was made), so it makes sense that The Kid will not be the same person he was when we were last introduced to him. The Kid's spiritual path also makes sense, given the transformative nature of the 3-song set "Purple Rain", "I Would Die 4 U" and "Baby I'm a Star" which ended the last film on a truly powerful note. Even Prince's signature representation as a sex symbol is given an emphatic twist thanks to the magnetic on-screen chemistry he shares with the alluring Ingrid Chavez.
In retrospect, the production and release of "Graffiti Bridge" are brilliantly timed. You have to remember that this came out at a time when African-American filmmakers were making big-budget studio films (Spike Lee's 1989 masterpiece "Do the Right Thing" comes to mind) and seasoned African-American actors sat in the director's chair to tell their own stories (Eddie Murphy's 1989 comedy "Harlem Nights" also comes to mind). Like Spike Lee's next film "Mo' Better Blues", "Graffiti Bridge" highlighted the popular Black musical genres of that era. Sure, "Mo' Better Blues" focused on jazz and hip hop, but Prince's film showcased jazz (courtesy of the late composer Clare Fischer who also worked on "Under the Cherry Moon"), hip hop, funk, rock, R&B and new jack swing. And speaking of new jack swing, it should be noted that "Graffiti Bridge" preceded Michael Jackson's 1991 "Dangerous" album and the soundtrack to the 1991 crime film "New Jack City" in terms of the popularization of that musical genre.
Yes, "Purple Rain" is the better entry in this duology of The Kid films, but "Graffiti Bridge" stands as both a return to form for Prince after the poor reception of "Under the Cherry Moon" and a pure example, albeit the first and last time, of Prince's natural progression as a director, screenwriter, songwriter, performer and actor. The soundtrack is versatile and highly entertaining, although a part of me wishes the title song played during the film and not in the last two minutes of the closing credits. Narratively, the film's combination of philosophical themes of good versus evil, righteousness and destiny with the sensationalized but very sincere celebration of African-American musical artforms feels cohesive, unforced and far from heavy-handed. In short, "Graffiti Bridge" is an absolute blast, and regardless of whether you never saw it or you saw it way back when and hated it because it wasn't the "Purple Rain" sequel you wanted, it's definitely worth checking out! Also, it wouldn't hurt if you watch this with a home theater system or with a simple soundbar like I did! Everybody wants to find Graffiti Bridge, but by now, we should see, hear and appreciate it as well.
For years, I've always heard of how terrible "Graffiti Bridge" was, to the point that I never bothered to listen to the soundtrack which, like the "Under the Cherry Moon" soundtrack "Parade", was highly praised though the movie it's based on wasn't. And with my recent, first-time viewing of the film serving as the basis of this review, I can finally say that I listened to the soundtrack as well.
Set roughly six years after the events of "Purple Rain", "Graffiti Bridge" finds our reserved hero The Kid co-owning Glam Slam, one of four nightclubs in the Seven Corners area of downtown Minneapolis, with rival performer Morris (played once again by the scene-stealing Morris Day). Throughout the film, Morris has his hands full, going out of his way to make his Pandemonium club THE spot for nighttime entertainment while aggressively attempting to seize full control of Glam Slam, Melody Cool and the Clinton Club (owned by legendary funk musician George Clinton). And similar to Apollonia (Apollonia Kotero) in the last film, he sets his lusty sights on Aura (Ingrid Chavez), an enigmatic woman who - surprise, surprise - The Kid instantly falls for. Burdened by the negative reception of his spiritually-driven music by Seven Corners citizens and the threat of losing his business to Morris, The Kid finds the answers through his interactions with Aura, whose purpose for being in his life at this time takes on a deeper meaning as the film progresses.
Prince's screenplay transports The Kid, Morris, Morris' band The Time and even Jerome Benton, returning as Morris' equally smarmy assistant Jerome, out of the pop rock-fueled, mid-80s setting of the last film into the beginning of the 90s, where R&B, hip hop and new jack swing will integrate themselves into mainstream music. Tapping into the massive popularity of MTV, Prince also made the film's musical sequences look like ACTUAL music videos, from the on-stage performances of Prince's "New Power Generation, Part 1" and The Time's "Release It" to the off-stage performances of the grandiose "Tick, Tick, Bang" and the ridiculously catchy "Thieves in the Temple".
The set design of "Graffiti Bridge", handled entirely in Prince's own soundstage inside his Paisley Park estate, feels radically different from "Purple Rain". Here, we're treated to a multi-colored, neon-lit, almost noirish-looking Seven Corners, shot BEAUTIFULLY by the late, great cinematographer Bill Butler. Even the titular "Graffiti Bridge" - an actual graffiti-covered bridge where Aura's character is introduced - looks like something out of a fairy tale, complete with soft lighting and warm-colored backdrops.
Prince must've taken the misogynism criticisms of "Purple Rain" to heart as The Kid comes off as sympathetic and caring towards Aura - a far cry from the toxic way he viewed women prior to his moment of clarity following his father's failed suicide attempt. Interestingly, you can see shades of Prince's gigolo character Christopher Tracy from "Under the Cherry Moon" in the pervy ways Morris views and treats women. And in a way, Jerome Benton plays a less charming and more childish version of his character Tricky, Christopher's partner-in-crime, alongside Morris. The Kid also saves Aura from being deflowered by both Morris and Jerome in a sequence that's a lot less funny than it sets out to be given its context, but shows a startling amount of maturity in Prince's on-screen character since "Purple Rain".
Despite its sporadic moments of darkness, "Graffiti Bridge" is significantly upbeat and light-hearted, thanks largely to the intentional (I really have to stress this) UNREALITY being presented. And compared to the grim realism of "Purple Rain", it's not meant to be taken TOO seriously! In the world of this film, Morris Day has a bunch of goons on his payroll like he's Al Capone. His introductory sequence in particular is an oddly humorous tribute to a memorable scene from Brian De Palma's classic crime film "The Untouchables". Characters perform musical numbers on the streets with no hesitation and little preparation, like the "introduced" Tevin Campbell in his delightful musical and film debut moment "Round and Round". FOUR clubs exist in the same area, each vying for the biggest patron attendance! And as hinted throughout the film, angels exist - or maybe they're in The Kid's mind.
Seeing "Graffiti Bridge" during what was essentially a Prince movie marathon I willingly decided to watch (I highly recommend die-hard Prince fans do the same thing, even if it means buying the "Prince Movie Collection" Blu-Ray set), I couldn't help but imagine how viewers in 1990 - enthusiastic to see a 'long-awaited' sequel to "Purple Rain" - responded to it. Bemusement, speechlessness, annoyance, anger.....probably all of the above. And I can see why some fans of "Purple Rain" and Prince's discography swept this movie under their mental rugs.
But for me, I saw someone brave enough to express his growth as a person and a musical artist through the canvas of the silver screen. Prince in 1989 (when this film was made) wasn't the Prince of 1983 (when "Purple Rain" was made), so it makes sense that The Kid will not be the same person he was when we were last introduced to him. The Kid's spiritual path also makes sense, given the transformative nature of the 3-song set "Purple Rain", "I Would Die 4 U" and "Baby I'm a Star" which ended the last film on a truly powerful note. Even Prince's signature representation as a sex symbol is given an emphatic twist thanks to the magnetic on-screen chemistry he shares with the alluring Ingrid Chavez.
In retrospect, the production and release of "Graffiti Bridge" are brilliantly timed. You have to remember that this came out at a time when African-American filmmakers were making big-budget studio films (Spike Lee's 1989 masterpiece "Do the Right Thing" comes to mind) and seasoned African-American actors sat in the director's chair to tell their own stories (Eddie Murphy's 1989 comedy "Harlem Nights" also comes to mind). Like Spike Lee's next film "Mo' Better Blues", "Graffiti Bridge" highlighted the popular Black musical genres of that era. Sure, "Mo' Better Blues" focused on jazz and hip hop, but Prince's film showcased jazz (courtesy of the late composer Clare Fischer who also worked on "Under the Cherry Moon"), hip hop, funk, rock, R&B and new jack swing. And speaking of new jack swing, it should be noted that "Graffiti Bridge" preceded Michael Jackson's 1991 "Dangerous" album and the soundtrack to the 1991 crime film "New Jack City" in terms of the popularization of that musical genre.
Yes, "Purple Rain" is the better entry in this duology of The Kid films, but "Graffiti Bridge" stands as both a return to form for Prince after the poor reception of "Under the Cherry Moon" and a pure example, albeit the first and last time, of Prince's natural progression as a director, screenwriter, songwriter, performer and actor. The soundtrack is versatile and highly entertaining, although a part of me wishes the title song played during the film and not in the last two minutes of the closing credits. Narratively, the film's combination of philosophical themes of good versus evil, righteousness and destiny with the sensationalized but very sincere celebration of African-American musical artforms feels cohesive, unforced and far from heavy-handed. In short, "Graffiti Bridge" is an absolute blast, and regardless of whether you never saw it or you saw it way back when and hated it because it wasn't the "Purple Rain" sequel you wanted, it's definitely worth checking out! Also, it wouldn't hurt if you watch this with a home theater system or with a simple soundbar like I did! Everybody wants to find Graffiti Bridge, but by now, we should see, hear and appreciate it as well.
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