M
arlon Wayans can still smell the thick aroma of Tupac Shakur’s marathon marijuana sessions. Wayans and Shakur, both performing arts high school products, had become quick friends while Shakur was filming 1992’s
Juice
alongside Wayans’ friends
Omar Epps
and
Mitch Marchand
.
By 1993, it was Wayans working with Shakur on the street basketball coming-of-age film
Above the Rim
, which celebrates its 25th anniversary on Saturday. Shakur was the sinister and charming drug dealer Birdie, who was trying to monopolize a local streetball tournament. Wayans played Bugaloo, a round-the-way kid who was often the target of Birdie’s
vicious verbal taunts
.
“ ‘Above the Rim’ is the most true, ball-playing cinematic movie.” ? Leon
Shakur and Wayans shared a two-bedroom trailer on set. They made each other laugh. They talked about themselves as young black creatives in a world that often sought their talents but not the soul behind them. And the two got high together ? in a way.
“’Pac smoked
a lot
of weed,” said Wayans. “[He] would roll like nine blunts … he’d be listening to beats.” Wayans chuckles at the memory. “I’d catch the biggest contact.”
One day, Shakur refused to step out of his Rucker Park trailer. Director
Jeff Pollack
was confused. Everyone was ready, cameras in place. All they needed was the enigmatic Shakur. “Kick the doors off the Range Rover!” Shakur yelled as he emerged. “Real n—as don’t have doors on Range Rovers!” Shakur wanted the doors off so he could just jump out and directly into his lines.
“In my head, I’m thinking, ‘Yeah, ’Pac’s a little high,’ ’’ said Wayans, laughing. “I don’t think ’Pac knew how much that would cost production.” Shakur eventually came down off his high. And the doors stayed on the Range.
Above the Rim
was part of a 1994 Hollywood basketball renaissance. A month before the film hit theaters, Nick Nolte,
Shaquille O’Neal
and
Penny Hardaway
starred in
Blue Chips
. Later that year came
Hoop Dreams
,
the masterful Steve James documentary. Lodged midway was
Above the
Rim
.
Each of the three films offers a perspective of basketball as more than a game.
Blue Chips
focuses on the lucrative and slimy underbelly of big-business college athletics (and
art imitates life
a quarter-century later).
Hoop Dreams
is an expose of the beautiful yet heartbreaking physical and emotional investment of the sport.
Above the
Rim
uses New York City basketball as the entry point into the deeper story of two brothers and their tie to a young hoops phenom attempting to leave the same Harlem streets that divided them.
Set and filmed mostly in Harlem, the film was written by
Barry Michael Cooper
and directed by Pollack and also features
Leon
(Colors, The Five Heartbeats, Cool Runnings, Waiting to Exhale)
as Tommy “Shep” Shepard, Shakur’s older brother and former basketball star.
Martin
(
White Men Can’t Jump, Scream 2, Any Given Sunday)
portrays Kyle Lee Watson, a high school basketball star hellbent on attending Georgetown.
Tonya Pinkins
(
Beat Street, All My Children
) portrayed Kyle’s mother, Mailika. She hasn’t forgotten what the role meant for her career: “Probably the most I’ve ever been paid for a film,” she said. “The cast was phenomenal. It was really a party, and I was kind of the only … woman with lines in the movie.” And making his film debut was
Wood Harris
(
Remember The Titans,
The Wire
, Paid In Full, Creed
and
Creed II)
as Motaw ? Wee-Bey to Birdie’s Avon Barksdale.
Bernie Mac
(
Def Comedy Jam, Mo’ Money)
is Flip, a local junkie responsible for the movie’s
most prophetic and eerie line
, especially given how many key figures from the film have since died (Shakur, Mac, Pollack and David Bailey). “They can’t erase what we were, man,” Flip says to Shep toward the beginning of the film.
Above the Rim,
too, entered the culture during that 1986-97 era when films such as
House Party, New Jack City, Malcolm X, Boomerang, Juice, Menace II Society
and others had already stitched themselves into the fabric of the ’90s black cultural explosion. Those movies did so with black directors calling the shots.
Above the
Rim
was brought to life by Benny Medina and Pollack, who had already struck gold with
The
Fresh Prince of Bel-Air
, at the time roughly halfway through its iconic run.
Above the Rim
was different, though. “It was … without a doubt a story of the inner city,” said Leon, who at the time was fresh off his powerhouse role as J.T. Matthews in
The Five Heartbeats
. In
Above the Rim
as Shep, he returns to Harlem after falling on hard times. Leon is biased about the film’s cult status, and proud of it. “[
Above the Rim
is the] most true ball-playing cinematic movie,” he said.
Leon is humbled and entertained by
the internet’s reaction
to Shep, in corduroy pants, dropping 40 second-half points in the movie’s championship climax. “There’s just been so many memes people send me … it’s hilarious,” he said, laughing. And the level of on-set hoops competition, as he remembers, was electric. Many of the film’s ballplayers were just that:
ballplayers
.
“It was strictly about hoops, wasn’t nothing about acting. When you get on the court, it’s like either you could go or you can’t.” ? Leon
In real life,
Martin
starred as a guard on New York University’s Division III squad in the late ’80s. He was a
first-team All-Association selection
in 1988-89 and was the Howard Cann Award recipient that same season as MVP. Leon, who grew up hooping in the Bronx, New York, attended California’s Loyola Marymount University on a basketball scholarship (guard) before focusing on acting.
It was while playing professional basketball in Rome and filming 1993’s
Cliffhanger
with Sylvester Stallone and John Lithgow (in Rome as well) that Leon was approached about starring in
Above the Rim
. The role was first offered to Leon’s friend (and fellow heartthrob) Denzel Washington, who had just starred as
Malcolm X
in the iconic Spike Lee biopic. “Don’t know why it was,” Leon says when trying to recall why Washington decided against the role. “Don’t care.”
People in Hollywood knew Leon could hoop, but word-of-mouth was only a down payment on respect. “Everyone could really ball. … Everyone had all-everything in their city credentials,” Leon said. “We’d scrimmage at NYU. All the top players from the [
Entertainers Basketball Classic
] and
the Rucker
, everybody was down there trying to get down. It was strictly about hoops, wasn’t nothing about acting. When you get on the court, it’s like either you could go or you can’t.”
Georgetown University doesn’t have any scenes in
Above the Rim
. Nor does the school make or break the plot. Yet the Washington, D.C., campus’s role in the movie is important, and seamless. Pollack (who died in 2013 at the age of 54) and Medina, as writers, had already managed to weave Georgetown into the narrative of a
1992
Fresh Prince
episode
. And it’s Georgetown’s role in the story of black America that gave the film authenticity.
Maybe it was because Georgetown had a successful black coach manning its sidelines in John Thompson. Maybe it was because Thompson did so during the decade in which hip-hop started to grow up, and crack cocaine was blowing up during and after the days of President Ronald Reagan. Or maybe it was the type of players Thompson recruited ? and the fearlessness they played with.
“We didn’t apologize for who we were. We didn’t ask permission to be who we were,”
Thompson said
earlier this month. “Then there was the rap explosion, and people started wearing Georgetown-style gear because they were so moved. Once we started seeing the Georgetown gear in TV and movies, there was definitely more of a sense that we had arrived.”
Except for Michigan’s Fab Five, no team held the gritty cultural cool that Georgetown did in the late ’80s and early ’90s. “Georgetown represented for us,” said Wayans. “It made college look cool to young black kids. That team … it made us go, ‘Yo, I wanna wear that blue and gray.’ … For kids that grew up … in the ’hood … it became cool to be smart and educated.”
Wayans, who attended Howard University from 1990-92, said, “It absolutely [made Georgetown feel like a historically black university].” And it was Allen Iverson’s impending arrival that thrilled all parties involved with the film.
Iverson’s role in basketball lore is one-of-one, and by 1994, his image was, in many ways, as controversial as Shakur’s. To one segment of America, Iverson was a goon, a two-sport local superstar who deserved to have his future stripped away after a 1993 bowling alley brawl. Iverson’s 1993 trial and eventual conviction
remains a benchmark of racial divisiveness
in the Commonwealth of Virginia.
Yet, to a whole other segment, Iverson held superhuman characteristics. He was a larger-than-life counterculture rebel who remained true to himself at all costs ? in tats, do-rags and baggy jeans. Iverson, a free man in March 1994 after being granted
conditional clemency
by Virginia Gov. L. Douglas Wilder, was an unspoken factor in
Above the Rim
’s authenticity. Iverson’s story is loosely tied to that of Kyle Lee Watson.
“[Iverson] was
big
,” Leon said. “Having a … prominent black coach who we know would take a chance on a player [like character Kyle Lee Watson] and give him a scholarship, much the way [Thompson] did with Allen Iverson, it just made sense.”
Wayans agrees. “Allen Iverson represents the concrete and the hardwood. [Even then], he made you believe that even though you was groomed and raised in the streets, you could still amount to something great, and not let go of your culture.”
But if Iverson’s legacy is in unanimous good standing with the
Above the Rim
community, the
reviews
of the film were anything but. While
Above the Rim
has risen to cult status in the quarter-century since its release, many at the time blasted the film for hackneyed dialogue and situations.
The Washington Post
dubbed it a “stultifying cliche of a movie” that “doesn’t get anywhere near the rim.”
Variety
said the movie was composed of enough cliches to fill an NBA stat sheet.
Roger Ebert
felt similarly but praised the film’s ingenuity in character development.
But if there was praise that was near universal, it was for Shakur. “As the strong-arm hustler who darts in and out of
Above the Rim
, Tupac Shakur proves, once again, that he may be the most dynamic young actor since Sean Penn,” an
Entertainment Weekly
critic wrote in 1994
. “The jury is out on whether he’ll prove as self-destructive.”
Shakur entered a particular read-through of
Above the Rim
’s script in typical Tupac Shakur fashion. Loud. Bodacious. Arrogant. Leon appreciated the spectacle.
Every actor and actress has his or her own way of mentally preparing for a role. This was Tupac’s. He walked right up to Leon, his estranged brother in the film, and bowed his head. “You ain’t gonna have a problem with me because you in
The Five Heartbeats,
” Shakur said. “That’s my movie.”
Above the Rim
marks a transitional period in Shakur’s life. His rising fame ran concurrent with controversy. Vice President Dan Quayle called for his 1991 debut,
2Pacalypse Now
, to be
removed from shelves
, claiming its lyrics incited the murder of a Texas state trooper. And in 1993 alone, Shakur released
Strictly 4 My N—A.Z.,
a profound sophomore effort headlined by the singles “
Holler If Ya Hear Me
,” “
I Get Around
” and “
Keep Ya Head Up
,” and starred with Janet Jackson, Regina King and Joe Torry in
Poetic Justice
.
But also in 1993,
Shakur was charged with felonious assault
at a concert at Michigan State University. He
fought director Allen Hughes
on the set of
Spice 1’s “Trigga Gots No Heart” video
and was later
sentenced
on battery charges.
By the time
Above the Rim
’s production was underway, Shakur’s legal dramas only intensified. In November 1993, he was charged with
shooting
two off-duty suburban Atlanta policemen. Those charges were
eventually dropped
. But shortly before Thanksgiving, Shakur, along with two associates, was
charged with sexual assault
of a woman in a New York City Parker Meridien hotel room. The case remains an indelible stain on his career, and Shakur, until the day he died less than three years later, maintained his innocence, even as he served much of 1995 in prison for the crime.
Shakur’s legal proceedings were a constant backdrop during the filming of
Above the Rim
, the stress of which
took its toll on the cast
. “It affected all of us, you know? We had to change the shooting schedule and delay production,” Leon said. “This stuff was all going on at the same time, and it could be a bit of a distraction.”
“He was great,”
Martin said
of working with Shakur, “when he wasn’t in trouble.”
“It must be hard for [Pollack] to have his main character in jail and you have to shoot tomorrow,”
Shakur told MTV News
. “But they never let me feel that.”
In a
landmark 1995
VIBE
prison interview
, Tupac talked about
hanging around with hardened street players
who showed him the baller life that New York City had to offer. Two in particular were Jacques “Haitian Jack” Agnant and James “Jimmy Henchman” Rosemond ? both of whom Shakur would later implicate, respectively, in the sexual assault case levied against him and the attempt on his life in 1994 at New York City’s Quad Studios.
“I would often have conversations with him about some elements around him, but I wasn’t abreast of it all because I wasn’t there every time he was getting in trouble,” said Wayans. “I’d just say, ‘Yo, you have the power to make different decisions, watch out for this, watch out for that … You have to dodge traps. You can’t run into them.’ ’Pac’s greatest attribute is he was supercourageous, but sometimes that can also become your Achilles’ heel. Sometimes the thing that is your superpower is also your flaw.”
“You ain’t gonna have a problem with me because you in
The Five Heartbeats
. That’s my movie.” ? Tupac Shakur
Pinkins only had one day of working with Shakur, but his confidence impressed her. “We sat and talked [for a long while],” said Pinkins. “Everyone was so excited and hype, but he was just mellow … cool, and articulate. He was funny too. Someone who made you think he was already at that level of international phenomenon.”
Shakur rarely got much sleep while filming
Above the Rim
. He’d leave set once the day was over, go to the studio to record and come back to set the next morning primed and ready. “[Shakur] was as dedicated as I was. He was on point,” Leon said. “He had to be because so much of my acting was done silently with my eyes.”
Shakur was
Above the Rim
’s emotionally charged ultralight beam. His smile could light up a room, and his rage could clear one. Shakur,
Rolling Stone
lamented shortly
after the film’s release, “steals the show.” His portrayal of Birdie was a “gleaming portrait of seductive evil.”
Shakur’s presence in the film is a beautiful reminder of what was. Wayans can still hear his own mother warning him. “ ‘Baby…’ ” Wayans re-enacts her, “I want you to be safe. [Shakur’s] a wonderful kid. I can see the talent in him. But you be careful of the elements around him.”
Above the Rim
was
filmed on a budget of approximately $3.5 million
. In its opening weekend in March 1994, the film recouped that sum, amassing $3.7 million ? and $16.1 million overall. It lives on in the conversation of best ’hood movies and one of the definitive sports movies of its era.
Above the Rim
lives on via streaming services such as
YouTube
and Amazon Prime.
Justin Tinsley is a senior culture writer for Andscape. He firmly believes “Cash Money Records takin’ ova for da ’99 and da 2000” is the single most impactful statement of his generation.