In “Michael,” the much-anticipated biopic about the legendary Michael Jackson, viewers are treated to a cinematic experience that ultimately falls flat. Despite the iconic status of Jackson as one of the most remarkable performers in entertainment history, this film fails to capture the essence of his life and artistry.
Directed by Antoine Fuqua and penned by John Logan, the film neglects key storytelling elements such as pacing, plot, and character development, resulting in an almost hollow presentation. The filmmakers faced the daunting task of appeasing the Jackson family and their legal representatives, which may have stifled their creative freedom and led to a focus on the artist’s greatest hits rather than a comprehensive narrative.
The narrative begins in 1966, showcasing Joseph Jackson (Colman Domingo) as he prepares his five sons for a musical career in Gary, Indiana. The film chronicles Michael’s transformation from a young boy (Juliano Valdi) into a solo artist, ultimately portrayed by Jaafar Jackson, his real-life nephew. The timeline spans significant milestones, including the creation of iconic albums like “Off the Wall” and “Thriller,” and concludes during the “Bad” tour.
However, the film’s intense focus on Michael leaves little room for other family members, such as his sister Janet, who went on to achieve her own musical success. The roles of Michael’s older brothers are so minimal that viewers might struggle to distinguish between them. Key figures in Jackson’s career, including music mogul Berry Gordy (Larenz Tate) and producer Quincy Jones (Kendrick Sampson), are relegated to cameo appearances, and the film notably omits Michael’s role as the Scarecrow in “The Wiz,” a pivotal moment in his career.
One might expect that such a concentration on Michael would yield insights into his psyche or creative process, but the film disappoints in this regard. A fleeting scene shows him watching a Vincent Price horror film, followed immediately by his famous zombie performance in the “Thriller” music video, offering little depth to one of the most groundbreaking music videos of all time. The film misses opportunities to explore the influences that shaped his artistry, such as his connection to films like “E.T.” and the inspiration behind his song “Someone in the Dark.” In contrast, Spike Lee’s documentary “Bad25” provides a richer exploration of Jackson’s innovative contributions to music.
At one point, Michael humorously remarks, “God gave me these songs, and if I don’t sing them, He’ll give ’em to Prince.” While this line adds some levity, it is one of the few acknowledgments of the broader musical environment in which Jackson thrived. The film lacks context about what made him a transformative figure in the music industry, resulting in a portrayal that feels stifled and one-dimensional.
The filmmakers have indicated plans to address the more controversial aspects of Jackson’s life, including allegations of misconduct, in a forthcoming sequel. However, the absence of these critical elements in the current film does a disservice to its representation of Jackson’s complexities. His erratic behavior is trivialized through comedic references to his pet chimpanzee, Bubbles, and the film offers no insights into how he dealt with the swirling rumors about his sexuality, which could have significantly impacted his career.
Despite its shortcomings, the film does feature Jackson’s iconic music, which remains timeless. Both Valdi and Jaafar Jackson effectively emulate the King of Pop’s legendary dance style, a commendable feat. Yet, the film ultimately reduces Michael to a nostalgic figure rather than a fully realized character. There is hope that the anticipated sequel may provide the in-depth and honest biography that Jackson deserves, though skepticism remains regarding its execution.
Michael
Starring Jaafar Jackson and Colman Domingo. Directed by Antoine Fuqua. Written by John Logan. Rated PG-13.
