Looking For The Perfect Beat But This Ain’t It – The Get Down

the get down

Baz Luhrmann’s swirling, sprawling new series for Netflix, The Get Down, came with such promise.

One of the channel’s most expensive series treads on fertile ground, chronicling the black and latino generation who revolutionised music by breaking from disco to invent hip-hop, and set against the tinderbox background of the Bronx in the late 1970s. This is vast, dramatically untapped territory, and it’s an important point in cultural history.

Rather than a straightforward drama, the show, created by Luhrmann and Stephen Adly Guirgis, tries to edge towards the wild, freewheeling and highly theatrical approach Luhrmann has used in films like Romeo and Juliet and Moulin Rouge. Sometimes this works, the sense of mythologising feels note perfect against the backbeat of hip hop, and during the musical numbers it hits an undeniable, infectious energy, and of course the soundtrack is blistering.

Unfortunately, and all too frequently, the theatricality feels like a let’s-just-put-the-show-on-right-here high school play, and distances us from the hollow, one dimensional characters – youngsters fighting against familial and societal barriers to realise their dreams. It’s mythology writ small, rather than large.

The cast try hard, injecting spirit into their roles (particularly Justice Smith, Herizen F. Guardiola and Shameik Moore, who manages to make his character likeable despite being saddled with some seriously irritating whirling dervish mannerisms) but they’re swimming hard against the tide of bombast and cliche. If you think Martin Scorsese & Mick Jagger’s Vinyl lacked depth, you’ll find much of this thinner than a 1980s flexi-disc.

Ironically, and particularly in the pilot episode, it feels like a show at war with itself, neither theatrical enough or dramatic enough, leaving it stranded in the middle of the dancefloor making some particularly awkward moves.

The show does seem to stand a little steadier on its feet by the last episode, so perhaps there’s hope for the next six episodes (which will air next year) but right now it feels like too little, too late. I went into this with a palpable sense of excitement, but found myself mostly unmoved.

This is a story waiting to be told and a record waiting to be spun, but Luhrmann and Netflix have skipped the groove on this one.


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