#WHOOP THAT TRICK HUSTLE AND FLOW MOVIE#
But if that doesn't happen, at least this movie will show people he's more than a fine supporting actor. From Hustle & Flow (and Crash), Howard's deserves at least one Oscar nomination. Al Pacino did this in The Godfather: Part II, and so did Steve McQueen in Peckinpah's The Getaway, both playing proud and deplorable men. Its acting with the eyes and letting the audience take the character from there. But Howard plays Djay in a manner that allows us to connect with him not though his words and actions which may say one thing but through his eyes which say something else. Like Harrison Ford as Nelle Fox in the greased and curled, eyes glazed from coke, he sits in his Buick pontificating to his prized prostitute Nola (Taryn Manning) with the worldliness of a man ruined by indulgence and daily survival. If someone desperately needed to get in the zone, it's Djay (Terrence Howard), a hard-living Memphis pimp. The music may be discordant and the rap may be straight-up nasty, but the main thing about crunk is that it's a state of being. That said, the mode for staying in the zone is "crunk" - a rap style with a repetitive lyric and baseline. To flow is the goal - being lost in the lyrics and the music it's the zone, the place you want to live. In other words, you write it, record it and put it out on the street (hopefully arriving at a radio station or record label's doorstep). To hustle (relatively defined) is to work your music to the listener's ear. The movie's title boils the life of a rap artist down to two words: hustle and flow. Director Craig Brewer's Hustle & Flow sticks a needle into rap's hardened veins - not to merely examine its blood, but to live there, swim around in it, and capture its essence.
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