A new American documentary rapper and record producer Ye, more commonly known as son birth name Kanye West, in now on Netflix.
In “jeen-yuhs: a Kanye trilogy”, fans and detractors get a raw look at Kanye West on the edge. It’s not quite Kanye on the cusp, but on the suburbs of he tasting son success in fits and bursts but never gets a chance to savor it. It’s the Kanye who knows who he is – deep, deep – even as he struggles to be heard above a hundred other voices in bedroom.
Always brilliant, bright and motivated, here, the public has a deeper look at time before the rest of the world also given this greatness. Created in a three-act structure from directors Clarence “Coodie” Simmons and Chike Ozah, “jeen-yuhs: A Kanye Trilogy” is, minus a somewhat mediocre third act, mostly gripping, contemplative, and joyful.
contrary to more traditional documentaries, “jeen-yuhs” begins with Kanye already at work. There are few lingering glimpses of West’s childhood or upbringing or early inspirations before he began making music, which can be frustrating for some. However, a few minutes after the start of the film, it is clear Simmons presents a stronger argument for West as a fully formed mind. Do these moments count? In the grand scheme of things, probably not. The Kanye us know today – complicated, frustrating, inflamed – has always been that Kanye.
Where is (who is now legally known as Ye) had begun to make a name for himself for himself creating Beats for other artists. But while most people thought he was just a producer, West told Simmons that “the only reason”he” makes beats it’s for rapper over their.”
It would be a long time between their first meeting in 1998 on Simmons public access showChannel Zero and output of from West debut album, “The University Dropout”, in 2004. But even then, West was sure of son talent, his ability. Simons too. Later, inspired by son drive – as well as the mega success of the West-produced track “Izzo (HOVA) by Jay-Z” – Simmons moved to New York to create a documentary about West and see how far he could go.
And he would go, but son momentum was never by a simple or easy path. Sometimes West’s biggest detractors were the people people around him who only wanted to see him for what it was and not what it could be. “I may be living your American dream, but I’m a long way from where my dream is West says at one indicate.
Throughout the documentary, Simmons lingers on long recorded scenes of West to workà play, in frustration. Rather than using ideas of talking heads like traditional documentaries, Simmons lets the scenes tell story. Minus a flowing, thoughtful monologue woven throughout the film and co-written by Simmons and poet/artist J. Ivy, the more dialogue comes from the glimpses captured in the past. Every moment is almost cinematic, as if Simmons (and West) figured out what these scenes and conversations would be – all while relaxing and playing poolen driving in the streets of New York City, while picking up an order of Leon’s BBQ on Chicago’s South Side – which would reveal the real story of Where is.
In a first scene in the documentary, West, Simmons and a few others ambush the offices of Roc A Fella. West is determined to be signed to the label, especially after producing a few of Jay-Z’s most successful songs on “The plan”. Passing from member of personnel to member of personnelWest plays a rough cut of “All Falls Down”, a track that would later become the third single from son debut album. More in the office are distracted, disappointed, don’t want to see West as anything other than who he always was.
It’s a sentiment that will permeate throughout West’s long and arduous journey from Chicago beatmaker to rapper. Success, of of course, is not linear. West’s trajectory is one step forward And two steps back, especially during those early days. Yet he continues. Most can be installed for what they have already created, but the west is pure energy in movement. “I go use everyone everyone says that I can’t do and I’m going to turn it into a positive”, West says.
Highlight all of it’s West’s relationship with his motherDonda West, the only person who believed in West as much as the West believed in himself. If West is the abrasive visionary, Donda is the funny, warm and loving heart. She encourages her dreams, son behviour. And throughout the documentary, the public understand better of son place in his life. Everything the West does is not just to fill son artist’s intention, it is also to keep his promise to her.
In “jeen-yuhs”, Donda often appears around the latter half of each act, serving as the foundation force like West world changes around him. During Act I, it’s West before and immediately after signing. In Act II, it’s after the upheaval car accident that inspired West debut single, “Through the Wire”. West loses son budget and label supporting over his own promotion. Donda maintains it. After the tragedy death of West motherWest loses and wins and loses footing in a cycle that we have come to understand well.
This is why Act III seems somewhat unsatisfactory. Part of it was out of the director’s hands. Simmons had followed West throughout his rise of Chicago reached the liberation of his debut. But as fame finally arrived (and in massive proportions), Simmons access and interest in the subject has dissipated. By liberation of “Late registration” and “Graduation” (as well as the death of his mother), the Kanye West that Simmons knew had somewhat disappeared.
West’s later years become something of a blur. The fans they search for deep insight into personal life, son marriage and family, will be disappointed. little is also given on his later works like now classic albums such as “My Beautiful Dark Twisted Fantasy” or “808s and Heartbreaks”. As a critic, I especially wanted more on these two seminal works published soon after that of Donda death. Perhaps they will be explored in another documentary later.
In the end, Simmons and Ozah do clear these details are not story. Simmons returns after the Kanye we’ve become know (and sometimes in horror) has firmly established itself. This is post marriage, post children, post public nervous breakdown. Yet their six-year the absence does not detract from the question, the story has always been at the heart of The Western Journey: who can an artist be when he is free to be everything?
While the rest of us are alive in the past and the present, West is future-led. What can he do? Who can he be? Where can he go? These questions do not torment West, but invigorate him, motivate him. In “jeen-yuhs”, the central struggle make others kiss power and beauty of his foresight.