The King of Pop. The Man Keeping “Thriller” Alive In Our Hearts Every Halloween. It’s time for another biopic on his life. Michael has life, though some remains muted.
This blockbuster is not a recollection of the pop singer’s allegations that harmed his career and that remain up for debate today. The accusations, some of which are dropped due to apocryphal claims, while others remain in the shadows, are not addressed in this picture. And thus, it would be a disservice to us to dwell on Mr. Jackson’s controversies when our sole objective here is to discuss a film that depicts his younger days. Maybe the follow-up will take on a more grave discussion.
The latest biopic, directed by Antoine Fuqua (Training Day, The Equalizer trilogy, Southpaw), depicts the young Michael (played by Juliano Krue Valdi) in his younger days, working with his brothers to become the Jackson 5, under the brutal, avaricious helm of his father, Joseph (Colman Domingo). Starting in 1966, the film jumps through important years of Michael’s life as he and his siblings reach the top of the charts and, once grown up (played by Jaafar Jackson, nephew of Michael Jackson), he ventures out to become a solo star. The family recognizes his phenomenal talent when he holds a microphone and showcases his choreographic genius. However, as he continues to rise in popularity, he comes to juggle fame, wealth, and the hardships of dealing with his father.
It’s no secret that Jackson was not a fan of dealing with his father as his career took off, and this film treads well into the complexities of demand vs. aspirations. However, it does come off as truncated at times, not selling the issues that lie much with his family. You see, it’s an immersion blending feature that speeds through the years and his most important moments: discovery by Motown executive Suzanne de Passe (Laura Harrier) in his younger days; working with Motown founder Berry Gordy (Larenz Tate) to kickstart the solo journey; meeting with his manager/attorney John Branca (Miles Teller) in growing his global status; collaborations with star producer Quincy Jones (Kendrick Sampson); the backstory and making of the “Thriller” music video; breaking down the racial barriers at MTV (when they were a thing decades ago); and who could forget the introduction of his signature moonwalk during his glistening showing on the “Motown 25: Yesterday, Today, Forever” special?
The problem is that the backbone of any tension in the family remains obsolete; you’re simply soaring along for the smooth, bubbly ride. There are themes to explore, such as Jackson’s isolationism or the disparity between different backgrounds (something Jackson prided himself on opposing to manifest a sense of unity). Still, they’re only glanced at in a feature that’s desperately in need of more substance. Fuqua’s feature asseverates itself more as a highlight reel, something to touch and go before moving on to the next thing. You cannot get the best of both worlds.
Now, with that said, there is quite a plenitude of good stuff here. The music strikes with such alacrity, thanks to Juliano Krue Valdi and Jaafar Jackson’s outstanding performances. They permeate their characters with Michael’s quiddities, something that clicks smoothly when presented onscreen. And the music, which still mesmerizes, radiates vibrance and nuance (the likes of “Thriller,” “Beat It,” “Bad,” “ABC,” and “Wanna Be Startin’ Somethin” won’t be forgotten). The concert scenes are excellent bits, accentuating his breakout as a star. Coupled with some great cinematography and worthwhile performances from Domingo and Nia Long, it’s a relatively fun ride to kick back and enjoy for two hours.
Maybe that was Fuqua’s sole intention: to get audiences excited; had he added more time for character development and conflict, this might be a more nutrient-dense biopic.
In the end, Michael will do a passable job of entertaining as a tribute. Now, it’s “Human Nature” to go enjoy it.
