Review: jeen-yuhs: A Kanye Trilogy – Simmons’ documentary Refocuses Spotlight on Ye
Kanye West, also popularised as ‘Ye’, is an intriguing figure to say the least. A polarizing egomaniac whose many outbursts and meltdowns have been well documented at this point. From an on-stage protest of Taylor Swift’s VMA win to his recent claim that slavery was a choice, Kanye has always been a hot topic for the tabloids.
However, jeen-yuhs: A Kanye Trilogy is not here to revel in the gossip. Instead, it takes a contemplative, spiritual approach, exploring Kanye’s psyche. Clarence “Coodie” Simmons is the creative voice behind the project, a filmmaker who followed the up-and-coming Kanye everywhere, camcorder in-hand. He saw potential in the rapper/producer and knew one day his footage would be gold dust.
As the title suggests, the documentary is split into three acts, 90 minutes each: act i VISION, act ii PURPOSE, and act iii AWAKENING. Simmons’ footage is raw and intimate, taking time to develop Kanye’s relationship with his mother, Donda. She is undeniably the emotional core, and her death is crushing. You empathise with Kanye who must grieve in the spotlight of his newfound fame.
Netflix have a history of producing mediocre, cookie-cutter documentaries of famous individuals, recently Neymar: The Perfect Chaos felt like it was made by a machine. Alternatively, jeen-yuhs allows you to sit with the subject and realise that, despite his extraordinary talents, he is just a normal person, struggling with his mental health and demons. In this regard, act iii is without a doubt the strongest.
Unlike Kanye himself, you may not view him as a genius, though one cannot deny his talent. His lyrical prowess and fiery ambition are on full display, especially whenever he raps directly to the camera. He stares right down the lens, confronting anyone who dares to doubt him. It must be disclosed that I am a MASSIVE fan of Kanye’s music, and I was in heaven witnessing the birth of some of my favourite songs. In one instance, Kanye hums ‘Through the Wire’ as literal metal wires try to mend his broken jaw.
Your prior engagement with the subject and his work will be a large factor in whether you enjoy the 4hr 30 runtime. Simmons is extremely indulgent with the footage, especially in act i. There are extended scenes that struggle to justify their existence, aside from Kanye dropping nuggets of contrived ‘wisdom’. Simmons often inserts himself into the film here and incorporates his own life story, to which I ask why? He seems to beg for his own significance when most viewers couldn’t care less. There is a seriously good two hour film here, what we get is just too long.
