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In February of 1997, Christopher Wallace left New York for the last time.
His final two interviews there, withJoe Clair onRap Cityand atSan Franciscos KYLD, were heavy.
This is the Biggie we all knew.
He was alive for only 24 years, very few of them as a famous person.
It is as heartbreaking as it is endearing.
Watching this version of Biggie is like Sam Neill and Laura Dern seeing their first brachiosaurus.
During the 1980s, the genre was covered in the press infrequently, if at all.
Hampton was different: part of a new generation of voices born and raised in hip-hop.
Were documenting whats going onright now.
Few took this message to heart like hampton.
While reporting some of raps formative early-90s profiles, the aspiring documentarian had her camera out, recording constantly.
On-camera, they speak candidly and act naturally, unconcerned with their public perception.
The footage makesIt Was All a Dreaman incredible archive dump.
The films charm is in its subjects un-media-trained intimacy.
Over a brisk 80-minute runtime, Biggie nerds and completists see historical gaps filled and his character fleshed out.
In a studio session with Lord Finesse, Big is an absolutely ruthless critic.
Over the years, weve heard dozens of testimonies from Biggies collaborators about his near-mystical writing process.
But in the film, we actually get to watch Biggie working, and the footage is revelatory.
These moments further affirm the miraculous perfection of Bigs debut album,Ready to Die.
Later in the film, Big is seen riding around listening to Ice Water offCuban Linx.
The born peacemaker always believed he could make things right with his former friend.
The film closes in Philly with Big and his entourage getting kicked out of a hotel.
Everyone, including Big who had the No.
1 single in the country at the time, with Players Anthem is understandably upset.
