by MATTHEW HAYS

In 8 Mile, controversial rapper Eminem plays what is basically a clone of his own persona. Curtis Hanson, the director renowned for such subtlety as The Hand That Rocks the Cradle and L.A. Confidential, hands Eminem not only the opportunity to show off some acting skill, but also to do some image PR.

In the film, Eminem seems intent on proving his black street cred. This could be seen as problematic, but the film’s screenplay attempts to cover its own ass by referring to the star’s cultural appropriation up front: Eminem is referred to as both Elvis and Vanilla Ice derisively by other characters. His buddies are of all colours, and his family is every bit as shafted-by-the-American-dream dysfunctional as those of protagonists in any Spike or Singleton movie.

This isn’t to say 8 Mile is an evil film, I just found it curious to see Eminem attempt to legitimize himself in another medium. There’s even a scene where one black man ridicules another for being gay in rap. In a clear effort to clear his name of the homophobia charges he’s faced over the years, Eminem emerges to rap a defence of the gay character. At this point, I almost expected Elton John to make a cameo. Are we watching a movie or an exercise in PR?

Aside from Eminem’s odd place in the history of cultural appropriation, he does exude a good deal of charisma and is believable in the lead. (Then again, so was Madonna when she was essentially playing herself in Desperately Seeking Susan—this by no means guarantees a long career as a screen actor.) Kim Basinger, as Eminem’s mom, is basically handed a Farrah Fawcett role—an abused drunk who wears no makeup.

The film itself doesn’t fare as well as Eminem. It’s fun to watch, sure, but 8 Mile is a film as stuck in cultural limbo as its star still appears to be, one that prompts the question: is this a serious drama or an after-school special? :

8 Mile is now playing

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