Okay, many would say that the Summer season got off to a very early start with the still-playing PROJECT: HAIL MARIE and the animation “one-two-punch” from Pixar and Illumination. That could be the case, since the big box office race had, until recent years, its “starting line” on the first of May, and the “finish line” just before Labor Day. Well, the “starting gun” has been fired with this big-budget musical “biopic”. While many of these have been relegated to the “prestige” months near the end of the year (to qualify for awards), this one is setting its sights on a big “wide” opening in many, many screens. This makes sense, since the subject held a “royal” moniker. We’re talking about the “king of pop”, the sparkly “gloved” one, MJ, though this potential blockbuster’s title simply uses his forename, MICHAEL.
This cinematic retelling doesn’t begin with his birth. Rather, it opens sixty years ago, as an eight-year-old Michael Jackson (Juliano Valdi) and his four brothers, now dubbed the “Jackson 5,” are coached and trained by their papa Joe (Colman Domingo) while mama Katherine (Nia Long) adoringly watches. But the road to fame includes long, grueling hours of rehearsal and the savage punishments from Joe. Eventually, they are discovered by Motown Records exec Suzanne de Passe (Laura Harrier), who brings them to her boss, the company founder Berry Gordy (Lorenz Tate). He’s a kind, nurturing mentor, the opposite of Joe, who patiently tells the lad not to “move around so much” in the studio. The team is a sensation, as the story springs ahead to 1978, with the family now living in an Encino, CA mansion. But now 20-year-old Michael (Jaafar Jackson) lives a sheltered life in a bedroom filled with toys, animals, and ideas for a solo album, which irritates Joe. Thinking this will “derail the gravy train,” he tells Michael’s agents that he can do a solo album in his “off time” (after the team’s 9-to-5 schedule). MJ’s a smash “single act, and soon yearns for more artistic freedom. Encouraged by his Mom, bodyguard/driver Bill Bray (Keilyn Durrel Jones), and new attorney John Branca (Miles Teller), Michael becomes a solo superstar, hitting new heights with the most successful record of all-time, “Thriller, produced by Quincy Jones (Kendrick Samson). As the years pass, MJ dominates MTV with lavish music videos, amasses a zoo on the grounds of his home, “steals the show” on the “Motown 25th” TV special, and indulges in cosmetic surgeries (he’s haunted by the childhood taunts of “big nose”). But Joe’s not finished with him, as he pressures his son to join his brothers on the “Victory” tour and be part of a “tie-in” commercial shoot for a soft drink company sponsor. This leads to a life-changing on-set accident that sets in motion a plan for Michael’s independence.
The ensemble cast works hard to recreate these pop culture icons, especially the title role, which is shared by a pair of talented screen newcomers. Getting the “lion’s share” of screentime is Jackson (yup, he’s the nephew of the “superstar”), who is a striking physical recreation, particularly in the musical numbers. Yes, he’s got the “moves” down so well that it’s a shame that he’s given such a limited dramatic arc. In most scenes, Jaafar flashes a frozen, immovable smile as he’s showered with praise or deals with family drama. Still, there are a few flashes, as he picks his lawyer, or during a “creation” sequence. Valdi is completely captivating as a ten-year-old (claiming to be eight) Michael, effortlessly earning empathy, whether serenading an adoring throng or enduring Joe’s “guidance”. As the story’s main “villain”, the superb Domingo deftly conveys Joe’s bullying swagger, though, again, we’re not given much insight into his motivations, other than greed. Teller also has little to work with, as Michael’s champion, who is often just a supportive ear and often verges on the old “white savior” cliche. Much could be said of Jones as the “dad surrogate” Bray. Long is solid as mom Katherine, who is finely given some strong scenes against Domingo in the third act. And kudos for casting a beloved comic treasure in a cameo role that harkens back to another musical biopic (no spoilers from me).
As I said, the musical recreations are exhilarating, reminding us of the exuberant sense of nostalgia, when the world seemed to float on a cloud of pop tunes (the 5 was perhaps the most fun act since the “Fab 4”). But for those hoping to get much more depth into this “pop royalty”, well, the film’s story is too light and fluffy. It’s a surprise since that comes from the man behind the “down and dirty” TRAINING DAY (can it be 25 years now), Antoine Fuqua. This is truly sanitized and pretty “toothless”. Since it’s authorized by the Jackson estate, Michael is so angelic, he often appears otherworldly (that’s why he’s an alien in the first MEN IN BLACK). It’s almost “The Adoration of Michael” as we see countless scenes of him doing visits to kids’ hospitals and bonding with youngsters in his happy place, “Tom’s Toys” (we know its real name). And then there are scenes so sweet your molars might ache, as Michael immediately bonds with pet chimp Bubbles, who seems to have been transported from the CGI ape world from that SF franchise, along with a whole pixel menagerie. Perhaps this “scrubbing” was needed in order to showcase and promote the music catalog and appease the family. But not everyone was on board, as sister Janet is not only absent, she’s never mentioned, leaving La Toya to be his fawning lil’ sis’.Still, there are a couple of sequences that offer us a glimmer of a more interesting biopic, including the aforementioned “creation” of one of his greatest hits, “Beat It’, and the hiring of Branca (“He’s my guy.”). Also in the film’s plus side is the superb production design by Barbara Ling, the costumes by Marci Rodgers, and the entire srt department and makeup team, though Joe looks a bit rough as he’s “de-aged” in the mid-60s opening. Those wanting to bathe in the musical memories will be blissfully taken back to their youth, but those of us who recall the later controversies and tablod “fodder” will find little “substance” in this “puff pastry”. At the final fade-ot we’re teased with a possibel sequel. If so, let’s hope it has a lot more dramatic heft than the sparkly simplicity and “canonizing” of MICHAEL.
2 Out of 4
MICHAEL is now playing in theatres everywhere
