(**1/2)
He was a Black singer who yearned to cross over from the African American community to mainstream America. He did. Ironically, in the end, the Black fans who loved him first may be the loyalists who embrace this conventional biofilm, when others won’t.
This sanitized portrait lacks scandal and may disappoint some. But those who want to be reminded that Jackson was a singular talent get a nice refresh. Glimpses of his eccentric behavior (do you have a pet llama?) and the making of Thriller, still the best-selling album of all time, are highlights. Seeing why Jackson set 39 Guinness World Records and cemented his legend is also enticing. So, what’s the story behind the façade? A fairly compelling but never extraordinary script by John Logan (Gladiator) gives us a peek that lasts up until the late ’80s. Up until the allegations.
Clearly young Michael Jackson (Juliano Krue Valdi) is the protagonist and his father Joe (Colman Domingo) the antagonist. The patriarch demands attention, obedience and excellence from his sons who form the musical group The Jackson 5. Their allegiance to their dad has been manipulated by harsh intimidation and threats of beatings by a belt for those who don’t obey. Michael has felt that wrath. Katherine (Nia Long), the matriarch, has witnessed it. Still, dad and family are jointly determined to seek a better life, like many working-class families—especially Black working-class families. Joe warns about the downside of staying in Gary, Indiana: “Y’all want to work in a steel mill like me for the rest of your days?”
Action-film director Antoine Fuqua (The Equalizer) got his start as a music video director for Prince, Usher and probably most famously for Coolio in the “Gangsta’s Paradise” video. Thus, the music and dance scenes in this film are well-composed, invigorating and expertly shot. The kinetic visuals are helped tremendously by Oscar®-winning cinematographer Dion Beebe (Memoirs of a Geisha), who moves the camera around Jackson’s performances as swiftly as a backup dancer. Four editors (Conrad Buff IV, Tom Cross, John Ottman and Harry Yoon) snip the scenes down to their essence, add a steady beat and let the music drive the footage. While costume designer Marci Rodgers’ (BlacKkKlansman) aptly replicates Jackson’s famous accoutrements, from the sequined glove to the shiny military-style jackets. There’s glitz where it needs to be.
Encino, California, here they come. In a heartbeat the family is in Los Angeles and have become renowned Motown Record Corporation artists thanks to company executive Suzanne de Passe (Laura Harrier) and owner Berry Gordy (Larenz Tate). As crafty and menacing as Joe is, young adult Michael (Jaafar Jackson) is two steps ahead of him. Jackson 5 hits like “ABC” (1970) and “I’ll Be There” (1970) enhance the group’s popularity. But Michael itches for his own career, “I love my family. I just want to do my own thing.” His driver Bill Bray (KeiLyn Durrel Jones) becomes his confidant and lawyer John Branca (Miles Teller) his representative. Jackson: “You know what I’m after?” Branca: “To be the biggest star in the world!” Add producer Quincy Jones (Kendrick Sampson) to the team, and Michael’s first solo album Off the Wall makes a big splash with hot singles like “Don’t Stop ‘Til You Get Enough.” Next it’s Thriller, with “Billie Jean” and its iconic, thumping bassline. Fame and independence follow—then suddenly the final credits roll.
Two elements elevate the film: groundbreaking music and innovative dancing inspired by Fred Astaire and Gene Kelly. Their moves inspired Jackson, who put his own stamp on popstar performance choreography. As long as there are still videos of Jackson’s famed 1983 appearance on TV’s “Motown 25: Yesterday, Today Forever,” kids will be moonwalking their hearts out.
Valdi as little Michael and Jaafar Jackson as the bigger one, embody the best of the artist. They have his movements down to a science. And through the magic of audio vocal effects, they sound almost like him too. The young actor displays an innocence so vulnerable and tangible, you wince when his dad beats him. The older actor expresses a quiet, passive-aggressive strength and determination. It peaks in scenes when he pulls away from his dad and manipulates the head of his record company (Mike Myers) into forcefully getting his videos on MTV, which had refused to play Black music. The kind of barrier many African American audiences will recognize. As Jackson’s look-alike nephew, Jaafar is the man in the mirror. However, the novice actor’s performance doesn’t match the depth of Jamie Foxx’s in Ray or Rami Malek in Queen. Domingo’s interpretation of the narcissistic, helicopter dad and Long’s portrayal of the mother who tries to protect her son are strong. Teller, Tate, Harrier, Jones, Simpson and other supporting actors, equally so.
The script and direction present a narrative about an artist who found his way to stardom, but not in a birth to grave way. It’s closer in approach to Bob Marley: One Love and lacks the visual imagination of the Elton John bio Rocketman. All three biographies would benefit from a miniseries more than a feature film. What’s on view seems pat, professional and truncated, never daring, exceptional or comprehensive.
If you’re a music fan who wants Michael Jackson’s spirit brought back down to earth, his persona does hover in the room. Whether you’re in an IMAX theater, a cineplex or living room you feel his presence, joy and music. Does the footage push biofilm genre boundaries? No. Does it remind everyone that the ‘70’s and ‘80s music was more fun because of Michael mania? Yes. It does that consistently for two hours and seven minutes.
Obvious omissions (Janet Jackson’s participation, his children, etc.) may frustrate potential viewers seeking a tell-all. But Black fans—the first to embrace Michael—may still find joy in this celebration of his artistry, along with those seeking a PG-13 version of Michael’s life.
Trailer: https://www.youtube.com/watch?v=3zOLzsbOleM
Visit Film Critic Dwight Brown at DwightBrownInk.com.