To be fair, Rock does speak to some people who are willing to concede that “nappy” or coarse and curly hair is not “bad hair”. For the most part, however, the film investigates those aspects of Black Hair Care which straighten “nappy” hair. The documentary examines the hair relaxer (chemical) business as well as the sodium hydroxide found in crème relaxers, weaves, the process by which the hair for weaves is obtained, and African-American Hair Shows. Rock also examines the preference of Black Men for Caucasian Women by associating this preference with the concept of Caucasian Hair and the fact that Black Men can run their fingers through it.

Weaknesses with this documentary, which was directed by Jeff Stillson, are few. The music by Marcus Miller is excellent and the editing by Paul Marchand and Greg Nash is a compliment to the compelling direction. Chris Rock’s discussion of weaves, however, is confined to the best and most expensive weaves a woman can get and fails to explore the cheaper weaves for Black Women which are obtainable. The film also relies on the shock value associated with telling us about the burn and the sores which crème relaxers can produce without exploring the no-lye products which are now on the market. Rock also fails to examine the usefulness of wigs in achieving instant “good hair” as well as the usefulness of hair extensions for Black people in achieving “good hair”.

This documentary also skims the surface of the brain washing which takes place from a very young age to make Black Females conform to Eurocentric standards of beauty. Can you imagine it? Some people have had their first permanents by the age of two years old trying to achieve that Eurocentric look.(Their parents idea!) Rock interviews a child as young as four years old as she sits in a beautician’s chair getting her hair relaxed.

Despite the flaws in Good Hair, I really liked this documentary because I could identify with the film’s message. Good Hair made me examine my own self-concept as a Black Woman and examine my reasons for doing what I do in my quest for straight hair. That is why I am giving Good Hair eleven roses out of twelve.

  Inspired by his concern for the self-concepts of his two pre-school aged daughters, Good Hair starring Chris Rock, is an insightful look into one aspect of The Black Hair Care Industry.  The aspect of the Industry which Chris Rock explores is that which can give a woman “good hair”.  Good hair is a euphemism in the Black Community for long, silky, straight hair.  Through a series of interviews with actors and actresses, models, musicians, writers, intellectuals, entrepreneurs, civil right’s activists, beauticians, and other men and women having their hair done in beauty salons and barber shops producer, writer, and comedian Chris Rock examines the self-concepts of those people who prefer the more Eurocentric look which “good hair” can give to them as well as a few people who have found the beauty in wearing their own natural tresses. 

      To be fair, Rock does speak to some people who are willing to concede that “nappy” or coarse and curly hair is not “bad hair”. For the most part, however, the film investigates those aspects of Black Hair Care which straighten “nappy” hair.  The documentary examines the hair relaxer (chemical) business as well as the sodium hydroxide found in crème relaxers, weaves, the process by which the hair for weaves is obtained, and African-American Hair Shows.  Rock also examines the preference of Black Men for Caucasian Women by associating this preference with the concept of Caucasian Hair and the fact that Black Men can run their fingers through it.

      Weaknesses with this documentary, which was directed by Jeff Stillson, are few.  The music by Marcus Miller is excellent and the editing by Paul Marchand and Greg Nash is a compliment to the compelling direction.  Chris Rock’s discussion of weaves, however, is confined to the best and most expensive weaves a woman can get and fails to explore the cheaper weaves for Black Women which are obtainable.  The film also relies on the shock value associated with telling us about the burn and the sores which crème relaxers can produce without exploring the no-lye products which are now on the market.  Rock also fails to examine the usefulness of wigs in achieving instant “good hair” as well as the usefulness of hair extensions for Black people in achieving “good hair”. 

      This documentary also skims the surface of the brain washing which takes place from a very young age to make Black Females conform to Eurocentric standards of beauty.  Can you imagine it?  Some people have had their first permanents by the age of two years old trying to achieve that Eurocentric look.(Their parents idea!)  Rock interviews a child as young as four years old as she sits in a beautician’s chair getting her hair relaxed. 

      Despite the flaws in Good Hair, I really liked this documentary because I could identify with the film’s message.  Good Hair made me examine my own self-concept as a Black Woman and examine my reasons for doing what I do in my quest for straight hair.  That is why I am giving Good Hair eleven roses out of twelve.

About the Author: Cleo E. Brown is the former Dean of Students and of Academic Affairs in The Learning Institute GED Program in Manhattan, New York. She has a Master’s Degree in Contemporary African-American History from The University of California at Davis in Davis, California. She has also worked toward a Doctorate in Education at The University of San Francisco in San Francisco, California. Cleo also has a Baccalaureate minor degree in Political Science. She is a Senior Editor and a contributing writer at HipHopRepublican.com.