Boyz N the Hood, the first movie from director John Singleton, is an intriguing and insightful look into the machinations of black culture, dealing particularly with South Central Los Angeles, California during both the mid 1980's and early 1990's. Rather than focusing on one aspect of the black experience in the inner city, the film instead splits its narrative to follow the intertwining lives of three young, black men as they mature and adapt to the unique challenges of their surroundings. Singleton's Los Angeles is one of open and constant violence, a malignant, ever-present police force, and a series of winding, unclear, and potentially treacherous paths through which its inhabitants must maneuver. The film's message that all black people must unify if they hope to end the fierce cycle of bloodshed perpetuated on them by corrupt external forces. Roughly the first fourth of Boyz N the Hood takes place during Tre’s childhood in 1984. Several key actions during this period will be met with analogous moments later on in the film. Firstly, the triangular relationship between Tré, Ricky, and Doughboy is established. Specifically, Tre is set up as a neutral party between Ricky and Doughboy. The scene displays this idea of Tré as being neutral. One of the first shots of the three together frames Tré in the foreground, while Ricky and Doughboy fight behind him. This scene also parallels a scene near the climax of the film, where Doughboy and Ricky are fighting, and Tré is attempting to break them up. econdly, personality traits of the three principle characters are also created. Ricky is constantly seen carrying a football, foreshadowing how deeply he will come to depend on the sport as a teenager. After Ricky's ball is stolen, Doughboy attacks an older boy in an attempt to retrieve it and is beaten in the process. This is exemplary of teenage Doughboy's often reactionary and violent behavior, as well as it's equally violent consequences. Boyz N the Hood makes
