An enigma … with a great soundtrack.
Major motion picture releases are regularly accompanied by a barrage of media offerings. “Trailers,” those brief cinematic snippets that are designed to tease interest, are a standard offering being splashed across the internet. In the case of “Michael,” the Michael Jackson “biopic” directed by Antoine Fuqua and scripted by John Logan, the usual drum roll has been embellished by some serious journalistic efforts.
The New Yorker offered a detailed portrait of director Fuqua written by Kalefa Sanneh in its April 27th issue. The New York Times Magazine offered Mark Binelli’s “The Rise and Fall and Rise of Michael Jackson” in its April 14th issue. Serious literary exploration of a new film.
And, with good reason.
Without the iconic title character, the film would be a glitzy, but interesting study complete with a fully produced soundtrack of very familiar songs. A young boy, physically abused by his dominating father shows incredible talent and overcomes shyness and his very humble beginnings to become a towering superstar, bringing his family with him and eventually reaching the point of self-awareness that he can stand on his own, triumphant in his independence.
It’s a classic story that reinforces a recent poll finding that indicated only 5% of the polled population cited their father as a compassionate individual who supported them in childhood. “Coming of age” films are not new, and what separates “Michael” from others is the inclusion of so many world-famous songs replete with Olympic-level choreographed performances.
Given that analysis, “Michael” is a film worth seeing from an immersive cinematic point of view. If you can find a theatre that has full Dolby sound capability, it’s even better.
The only thing is …
Binelli called it the “impossible tension” that slithers through the film like Michael Jackson’s pet snake. From the early years of exhausting rehearsals in their tiny Gary, Indiana living room to the sold out stadium concerts of the “Bad’ tour, the film pieces together the mosaic of an emerging star whose presence caused young women to faint … reminiscent of The Beatles introduction to their adoring fans. The chants are real. The cheers are heartfelt. The audience sings and sways and bonds with the young man whose “moon walk” on stage could evoke decibel smashing waves of cheers and applause.
That, however, is where the film stops. Heavily redacted by the Jackson estate and the list of family members as executive producers, the film does not dip so much as a tentative toe into the years of scandal and damning headlines that marked the rest of Michael’s 50 years. “Neverland” appears in the film only on the pages of his favorite childhood book … an “Easter egg” of the future ranch where so many accusations flared and a true artistic genius retreated to live a life assailed with accusation and disdain.
For the acting company, the striking similarity of Jaafar Jackson, the nephew, to Uncle Michael is more than impressive. He invests heavily in his portrayal of the title character, as do Colman Domingo as the oft demonized Joseph Jackson and Nia Long as Jackson’s mother, a constant source of sympathy and support.
There’s little doubt the film will do well at the box office. After years of allegations, court battles, searing documentaries that were released, then withdrawn from circulation and family battles over … wait for it … money, there remains the echo of Michael Jackson’s music that taunts and challenges us.
“Just beat It! No one wants to be defeated.”