Michael Jackson was, without a doubt, one of the biggest pop stars in history. It’s no surprise that he was going to get a biopic; if anything, I’m surprised at how long it took. He is one of my favourite artists ever, so of course I was going to watch this film. However, does it live up to his legacy?
I remember having a lot of concerns about Jaafar Jackson’s casting. Firstly, it felt like nepotism, with them going for Michael’s own nephew, and secondly, I wasn’t sure whether he could handle the weight of portraying Michael in his acting debut. Those concerns ended up being unfounded, as Jaafar Jackson shines as the King of Pop, Michael Jackson. There are many moments where it genuinely feels like Michael himself is on-screen. He nails the look, the moves, and the mannerisms of his uncle. Colman Domingo is equally effective, portraying Michael’s father, Joseph Jackson, as both detestable and menacing.
Special praise must also go to the costume and set designers for faithfully recreating Michael’s iconic outfits, his music videos, and the stages he performed on. The musical performances are excellent, and their recreations are just as strong. The chosen songs are, to no one’s surprise, phenomenal and work well within the film’s structure. The cinematography is genuinely quite good, and the editing is, thankfully, not as awful as it could have been, if Bohemian Rhapsody taught us anything.
Unfortunately, what brings this film down is its story. It simply moves through the career highlights of Michael’s life from 1966 to 1988 without exploring him in any real depth as a person. In reality, he was one of the most interesting, complicated, layered, and controversial artists in history. Here, however, he comes across as incredibly one-dimensional, which is a real shame. Michael is portrayed with no flaws or real struggles outside of his conflict with his father. The film does lean into his childlike tendencies, but to a point that dampens other aspects of his personality, such as his ambition, creativity, and competitiveness.
Other issues with the story include characters constantly telling him how gifted he is, and how he has a certain destiny and path. This is fine the first time, but it is repeated to the point of becoming excessive. The film focuses on his relationship with his parents but does not fully explore his relationships with his siblings. It also omits siblings such as Janet, Rebbie, and Randy, which feels a bit odd. The way his mother, Katherine Jackson, is written is also questionable. She is shown constantly spending time with Michael and prioritising his needs, while seemingly ignoring her other children. She also overlooks the abuse of her children, yet is still portrayed as entirely angelic and good. The film also skips over potentially interesting conflicts, such as the move from Motown Records to Epic Records and Michael’s depression after receiving minimal award recognition for his album Off the Wall.
Sadly, Michael feels like an overly sanitised and formulaic musical biopic with no unique spin on the genre. The film ends in 1988, before the more controversial events of his life, which suggests they are planning a sequel. Hopefully, that inevitable sequel is bolder and truly delves into who Michael was.
Comments
Post a Comment