Rab’s World

Planet B-Boy
A documentary film by Benson Lee
About…
One of the Greatest Dance Phenomena the World Has Ever Seen
2007 FILM FESTIVALS
TRIBECA FILM FESTIVAL
SYDNEY FILM FESTIVAL
TRIBECA 789 FILM FESTIVAL BEIJING
EDINBURGH FILM FESTIVAL
DEAUVILLE FESTIVAL
IDFA FILM FESTIVAL
Running Time: 101 minutes
35mm Color Dolby SSR Aspect Ratio 1:85 English Unrated

What happens when a child becomes greater than the parents before him? He or she must move out to spread their belief and indulge in their passion. The film Planet B-Boy attempts to place this question to the forefront and answer it also. Elephant Eye opens the film at the Landmark Sunshine in New York and the Nuart in L.A. Friday, March 21 followed by other cities. [Planet B-Boy Film Tour].

Many times I meet African -Americans who look at the art of B-boying with disdain. Even more so; they express in a condescending tone. They are shocked that any ‘American’ (read Black and Latino) would even be involved in something so passé as ‘breakdancing’!

The truth of the matter is that African-Americans in the majority have abandoned one aspect after another of one of the greatest grass root movements of the 20th century. That movement is now called ‘Hip-Hop’

From my observations; many Black citizens of the US of A barely know about the geo-political happenings such as the hot (now cold) war of the Koreas. There’s a scene called ‘Run DMZ‘ that clearly tackles this. Or the century-old tension between the ethnicities of Japan and Korea. Yet; this is expressed vividly primarily through the artform of B-Boying.

Many in the US of A might not even know or care about the African influence that shapes France from Africa whether it be Maghreb or below the Sahara. Planet B-Boy documents this influence. Lastly; many Americans do not even know that there are true American B-Boy soldiers fighting a forgotten war. These new gen B-boys admired the ways of their predecessors that hailed from urban areas of New York and California. The American B-Boys in this case hail from an unlikely spot that is not know for its steeped history of B-Boying. These guys (KnuckleHead Zoo) rep Las, Vegas Nevada state. Each successive generation adds a little ’spice’ to what the previous generation was doing. I was a real B-Boy back in the 1980s. I must admit that the way the ‘nu skool’ blast Graffiti; Djaying, Emcee and dancing skills leaves my mouth wide open these days. My level was no where as intricate as the cats of today.

Benson Lee is a Korean-American who never really was an active participant in the role of a B-Boy. Like many caught in the 1980s hype; he self-admittedly tried to ‘bust a move’ but moved on shortly thereafter. Lee directed “Miss Monday,” which won the emerging filmmaker award at the St. Louis International Film Festival as well as an special mention for acting at the Sundance Film Festival.

Director Benson Lee’s doc “Planet B-Boy” is set in the international world of B-boying with the urban dance known as “breakdancing” setting the tone and pace of the film. Splendid backdrops in Osaka, Japan; Paris, France; Seoul, Korea and Las Vegas, NV USA encapsulate the stories of dancers who are conflicted with mainstream society and even their own families. An American dancer in Vegas looks for his big break; a Korean son seeks his father’s approval; a twelve-year-old boy in France confronts his family’s racism and all the b-boys’ lives collide in Germany where their skills are put to the ultimate test: the “Battle of the Year” finals in Braunschweig by Thomas Hergenrother, with crews from 18 nations vying for the title of World Champion. The explosive film photography is the sole result of Vasco Nuñuz. This directory of photography was able to capture the most intricate scenes of action; a large percentage of the B-Boy dance. Benson Lee made sure that the audience knew about the different nationalities strengths and weaknesses. The French for their dance flow, the Japanese for their tight choreography, the Koreans for their technical execution and untouchable power moves.
The director insists that this film was a labor of love. He also says that it was almost 8 years in the making. His story is the familiar story of a student trying to get financing for a project. Of course the financiers ask you to ‘finish’ the project. Hmm. A catch 22. Eventually he found some executive producers who believed that this film should see the light of a screening.

Let’s briefly review the film. Benson does the B-Boy world good by having a commentary intro to the film from B-Boy legends such as Ken Swift (RockSteady Crew) and Trac 2 (StarChild La Rock). Right after this; he begins to set up the international flavor of the film. The sub-titles start flying on the bottom of the screen immediately.

The film builds up to a theme of international camaraderie. Benson captures the mode and pique of the B-boys as they observe each others styles and try their best to dispel rumors and make it to the top. The crews watching each other creates moments where the subtitles make you rip out laughing because of a wise-crack comment from one of the B-Boys. As you see; Hip Hop and it’s elements is about defeating the other but not the murder murder; “I’ll kill you..literally” that people associate Hip Hop with nowadays. You are fooled into believing that there is hate amongst the competing groups. As you watch the film; you will see great sportsmanship reveal itself from these dedicated; next-gen troopers. There will be a victor but Benson ends the film to show that B-Boying exults respect when it is honestly earned. The B-boys rarely speak each others language but they communicate fine through their code of the streets. The way of the B-Boy. As quoted in the film. “B-Boys speak with their eyes”.
An added embellishment via Nuñez are the spectacular shots of B-Boys doing what they do best in countries only made familiar by the landmark in the background and the city sub-title.

Benson inserted characters. Yes, all of these international competitors were crews or teams of B-Boys. Focusing on one particular character of the five main groups proved to be successful. The japanese B-Boy named Katsu pulled us into his passion and sincerity by exposing us to his relationships with his mother; brother and his recently passed father through his work in the family’s Tea shop. He’s a member of the tight crew called Ichigeki. Not sure what the slang of the crew’s name.

We are also introduced to the previous Battle of the Year champions. They are from Korea and they are called The Gamblerz. Interestingly; another Korean crew has made it to the Battle Finals. They are called the Last for One. If anything; the world will be shook once they taste the fire of Korean B-Boys. The realationship of one B-Boy and his patriotic Korean father is one thing that pulls you into the film. We are also introduced to the multi-racial team of Phase T (not sure what the ‘T’ stands for) from a suburb of Paris. Please be reminded that suburbs in France are the opposite of suburbs in the United States. Where this crew comes from would be parallel to what we would call ‘inner city’ in the USA.

The soundtrack is a feat in itself. Licensing fees killed the sound of memorable break beat track s except for one. They used the 1972 B-Boy anthem called ‘It’s Just begun’ by The Jimmy Castor Bunch. They used it to pay homage to the scene that caught the rest of the nation off-guard from the 1983 movie called ‘FlashDance‘. This is where The Rocksteady Crew feat. Frosty Freeze; Norm-Ski; Crazy Legs and Mr. Freeze were featured prominently in a burning, cinematic scene. More props to Woody Pak and his production for pulling it off. The tracks and the scores sat perfectly in all the scenes.

The promotion of this film has been top-notch! Of course, I did not see a television commercial on ABC or MyNetwork. The power of the Internet prevailed in this one. It appears that Elephant Eye Films also utilized regional urban publicity houses to get the audience to come view this film at the Landmark Theatres in that particular locale.
The official Planet B-Boy site is intuitive and well-designed. It works in providing all the info one would need to be immersed in the film.

After all; the true substance of Hip Hop is not about getting paid; but earning respect from peer-to-peer competition. I will not reveal the climatic ending of this documented competition in this film. But I will say to stick around when the credits start rolling. You will be treated to some of the most visually, pleasing action shots of B-Boys from around the world in front of a familiar edifice or monument.

I recommend this film to all who appreciate the boldness of Hip Hop. I also recommend this film to those who think Hip Hop is just Rap music that is heard on the radio. Learn the history! Experience the evolution. Then tie the points to other elements such as Beat-making; Djaying; Graffiti and Emceeing. You will then ask yourself two questions. One. ‘How did I miss all of this?” Two. ‘Where can I get more of this’?

Enjoy. Tell a friend!