Give BET All The Emmys Now For The Epic, Outstanding "The New Edition Story"
Holy shit, that was some epic television.
Listen, I take my role as one of the respected movie aficionados at Barstool pretty fucking serious and I can state unequivocally that BET’s “The New Edition Story” is one of the best music biopics EVER made in any format.
It’s what “Straight Outta Compton” wishes it was. And that’s not to diss the West Coast fellas; the story of N.W.A. made for a nice film (hilariously, Suge Knight shows up in both). It’s just that New Edition completely put their egos aside and signed off on a searingly honest, daring, raw, heartfelt, funny, loving, warts-and-all version of their lives that felt operatic in scope, touched every emotional nerve, and, by the end, had you crying tears of joy.
Now of course, New Edition is smack dab in my nostalgia wheelhouse and I was going to watch this movie regardless. But I’ve never seen a production on this scale from BET before and given what kind of ‘true stories’ we’ve seen from other cable nets (what up, Lifetime?), I went in with an open mind but tepid expectations.
The movie opens in New Mexico in 1997 during the “Home Again” tour. Bobby Brown is at peak Bobby Brown level and continues to hog the stage until Big Ron DeVoe has had enough and leads Bell Biv DeVoe on stage during Brown’s ego-and-coke-fueled, time-draining set. All hell breaks loose (cue Suge). A smooth, familiar voiceover intones: “I don’t know how everything got so bad……In the beginning, it was pure”.
After some cool-ass credits, the movie jumps back to “Orchard Park Projects, Boston – 1978″. Adolescent-aged Ricky Bell, Bobby Brown, and Mike Bivins are walking across a project courtyard as they go to meet their buddy Ralph Tresvant to mack on some honeys. Ronnie DeVoe shows up shortly thereafter. Then, over the next 6 TV hours, viewers are treated to an incredible story of the American Dream: 5 black kids from the projects of Roxbury (and later, D.C.’s smooth Johnny Gill) become beloved international music superstars and the bumpy, sometimes ugly road they took to get there.
BET and the crew they assembled genuinely blew me out of the water. This is the real deal. The authenticity was so good, it was startling. From the videos to the clothes to the interviews, it was unreal how much they nailed it. I went to bed feeling like I had a full head of hair, a pocketful of rubbers, and some awful fucking clothes on. And it was glorious.
A few other notes…
*You will never look at Avon Barksdale the same way again. Wood Harris, who played the fantastic “The Wire” gangster, does tremendous work here as Brooke Payne, the man who discovered (after some cajoling from the kids), nurtured, and named the band. His chill vibe and low delivery, combined with some sick duds, is the quiet heartbeat of the film. I really hope award voters are paying attention.
*De’Londa Brice (Sandi McCree) also showed up doing her fierce thing. But this time it was as a parent defending her son not poisoning him. I loved watching those “Wire” alums go at it again.
*Maurice Starr’s prominent role in getting the boys started is noted, as it should be. And using a Betamax in negotiations was a solid power move.
*Both the kid and adult versions of Ronnie, Bobby, Ricky, Mike, Ralph, and Johnny were incredible, all triple threats (both of Bobby’s were spitting images; Lucas from “Stranger Things” played young Ricky). They could all act, sing, and dance. The work put in to nail every single move just as NE did it is beyond impressive. Simply, they embodied New Edition to a T.
*The movie made sure to show that the boys’ loving, strong, and protective mothers had an active role in their success. The scene with the five of them after the band votes Bobby out was one of the better ones.
*The extended music sequences were a great treat. Instead of just a snippet of a hit, the movie plays virtually the entire song whether in a studio, during a replica of the video version, or from a concert, this was one of my favorite parts of the movie. So creatively done AND providing you with a fire jam.
*Bobby Brown. What a piece of work he is. From the first scene, when he crosses his fingers behind his back when making a promise with his best friends, we know that this kid is gonna be a problem. But major props to Brown for allowing us all to see all of the complicated splendor that is he. It’s not an easy thing to sign off on. At one point, I said to my wife, “Damn, Bobby Brown is really not looking good here”. “Pfft, he doesn’t give a shit.” Point to wife.
*In the same vein, Ricky Bell deserves a special shout-out for showing a part of his life I don’t think was well known. For him to include it in the movie was a courageous and commendable choice.
*NE’s influence was huge and, perhaps, underappreciated in some quarters. It was no secret they borrowed generously from the Jackson 5 but they also kicked the door in for Boyz II Men, High-Five, and a million other acts. They also led to five white, marginally talented singers becoming global stars in New Kids on the Block which begat the Backstreet Boys which begat *NSYNC. So ipso facto, without NE there’s no JT.
*The movie made sure to show that the boys’ loving and protective mothers had an active role in their success. The scene with the five of them after the band votes Bobby out was one of the better ones.
*It was great to see PMT’s recurring guest Michael Rapaport show up to do his patented scumbag white guy thing.
*As the designated Masshole here, I only found two minor Boston quibbles: Nobody says “The” Cathedral and the Strand Theater is in Uphams Corner not Downtown. OK, I’m done.
*As a Boston guy, it was great to see these local legends get such love and rep the city great like they always do. And I thought a lot of Boston came through. Loyalty. Ball-busting. Occasionally being obnoxious, maybe going a little overboard. But at the end of day, good people who put family and friends above all else.
*#BlackTwitter crushed it during the movie once again. What else is new?
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