video script:
In 2001, filmmaker Nick Broomfield stepped onto the yard at FCI Sheridan in Oregon, where Suge Knight had been incarcerated for four years over a parole violation. Known for being notoriously persistent, Broomfield arrived on the scene without a scheduled interview. Despite the hesitancy, he got exactly what he came for.
The making of Broomfield's films are as integral to the plot as the subject themselves. He sticks out like a sore thumb with his headphones and boom pole, received pronunciation slipping from his tongue, frequently opposite the thickest of American accents. In recent films, he has chosen to slope behind the camera. His probing inquisitions now reserved for people who willingly sit opposite him at a studio, knowing what they have signed up for.
Last Man Standing misses Broomfield's ambling around streets looking for someone, anyone to contribute. There's an intimacy built from this that works so well, for when the film rests in someone's home, it feels more personal, and as an audience, we get the invite to connect and share that space with them.
The man who found out where Margaret Thatcher had her hair done and stood outside the salon for hours may be missing from this picture, but there's a wealth of contributors for this doc. For fans invested in the East Coast/West Coast feud, this film should satisfy those conspiratorial needs, but for those coming to this story for the first time, it's recommended to catch its predecessor before diving into this one.
No stone has gone unturned by the filmmakers to reach every corner of the who-shot-Biggie-and-Tupac conspiracy. There's upwards of twenty different voices to hear from as they slip their interjections between expansive archival footage. It is no secret that Broomfield has opened a can of worms that has long been locked, and for those who want a vast look at the world of rap superstars, you should get everything you need from Last Man Standing.
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