When it was released 30 years ago, “Menace II Society” was a shock to the system.
Maybe because the trailer conveyed a sense of optimism amid scenes of Black urban life, many moviegoers were expecting another “Boyz N the Hood,” which had met with universal acclaim two years earlier. Both were coming-of-age dramas set in tough Los Angeles neighborhoods. And both involved a hero who is put to the test and a key character who dies.
In “Boyz,” that hero, Cuba Gooding Jr.’s Tre, survives. Hell, he thrives: the movie ends with him leaving to attend Morehouse College. In that hopeful narrative, the main character escapes. Not so in “Menace.” It is about those who cannot escape, the thousands of boys who grow into men trapped by circumstances. If “Boyz N the Hood” was a dream that few got to experience, “Menace II Society” was the reality of those who were left behind.
The debut of the directors Albert and Allen Hughes with a script by Tyger Williams — all in their 20s at the time — “Menace” tells the story of Caine (Tyrin Turner), who moves in with his grandparents after his mother dies of a drug overdose and his father is killed in a drug deal gone wrong. But he’s really raised by Pernell, played by Glenn Plummer, and other denizens of the streets. Caine himself is dealing drugs and stealing cars to get by. He’s best friends with the unapologetic killer O-Dog, played magnificently by Larenz Tate, and has feelings for Ronnie (Jada Pinkett), who has a baby with the now-imprisoned Pernell. But Caine makes decisions that prove to be his undoing. In true tragic-hero fashion, he brings about his own demise. He fathers a baby, then refuses to claim it, setting out on a path that ultimately leads to his death at the hands of a cousin of the baby’s mother.
Partly what makes “Menace” (available on most major platforms) such a rich film is the surprising number of characters who are fully fleshed out — not just Caine but also O-Dog, a murderer who is also supportive of friends and gentle with children. Even the man who kills Caine is given layers: he is tender with his cousin, and his love for her sets him on a collision course with Caine. The cousin goes unnamed but he isn’t depicted like the antagonists in “Boyz N the Hood,” who are treated with as much care as gangsters in Grand Theft Auto.
The film makes a point of exploring how Caine’s circumstances plays a major role in shaping him — whether it’s his upbringing by an addicted mother and dealer father, or his boyhood interactions with Pernell, who allows him to drink beer and hold his first gun. He then witnesses his father murder a man over a card game. It’s clear that Caine did not choose this life; this is the world as he found it. And though his determination not to care for his child is unquestionably the wrong decision, he is using the logic he inherited. We hear his inner monologue. He is trying to do the right thing, he just does not know how. Compared with the others around him, Caine is relatively moral.
“Menace” was part of a ’90s wave of gritty urban films centered on Black leads that included “South Central” (1992) as well as “Boyz.” The $3 million “Menace” was a success with audiences (making $30 million at the box office) and critics alike. Owen Gleiberman of Entertainment Weekly called it “brilliant, and unsparing,” and both Siskel and Ebert put the film on their lists of the best films of 1993.
Thanks to their initial hit, the Hughes brothers were able to make “Dead Presidents” two years later, about a Black Vietnam veteran who resorts to robbing banks to feed his poverty-stricken family. Both films show filmmakers interested in exploring the systemic conditions in America that give rise to the tragedy at the core of the Black experience.
Albert Hughes has said that “Menace” was made for white people, and it was lampooned as part of an overall goof on the genre in “Don’t Be a Menace to South Central While Drinking Your Juice in the Hood” (1996). Still, Gucci Mane, A$AP Rocky and Lil Wayne have all referenced “Menace” in their music, and a younger Kanye West noted that it was one of his “most watched” films.
Kiese Laymon, the novelist and author of “Heavy: An American Memoir,” told me, “It was the first film that my friends and I memorized every word.” He added, “O-Dog was mesmerizing. Some of us liked talking like him. A few of us liked acting like him. That had deadly consequences for one or two of us.”
Indeed “Menace II Society” has become a cornerstone in Black households, required watching alongside “The Color Purple,” “Malcolm X” and, yes, “Boyz N the Hood.”
“Menace” isn’t perfect, of course. The women are hardly three-dimensional. Caine’s mother is no more than a crackhead who fails to raise him, while Ronnie has little to do other than be a dutiful mother and romantic interest. But the legacy of this film cannot be overstated. As the critic Caryn James wrote in The New York Times when the film was released, “The movie’s very bleakness — not the moviemakers’ youth — is what makes ‘Menace II Society’ so radical, so rare and so important.”
