Nothing short of an anthemic celebration of the King of Pop, Lionsgate’s music-filled biopic Michael is a surefire hit for fans of Michael Jackson and the Jackson 5. The film is helmed by a Antoine Fuqua (The Equalizer Trilogy, Training Day), a consistently underrated director that I’m quite fond of.
Featuring an incredibly dynamic performance by Jaafar Jackson (the son of Jermaine Jackson and nephew to Michael), the film follows the pop star’s rise and relationship with his family – from his humble origins in Gary, Indiana, to the breakout success of the Jackson 5, to becoming a solo icon and music’s biggest star.
Michael Jackson was a controversial figure whose complexities compounded over the course of his life. His later years were plagued with accusations of sexual impropriety and grooming minors, and the decline of his career and popularity were tragically mirrored in the transformative decay of his own physical appearance due to a combination of medical conditions and cosmetic surgery. To this day the lack of clarity around Michael’s accusations – with important voices defending or decrying him with equal conviction – hangs a cloud over his legacy, and it’s important to acknowledge that.
For better or worse – and I would argue for the better – the film sidesteps all of this by focusing instead on Jackson’s formative years and success with the Jackson 5 and throughout the 80s with his solo albums Off the Wall, Thriller, and Bad. Obviously it’s not the most honest or critical look at Jackson and his legacy, but as a celebration of his music, it plays like gangbusters.
The film showcases iconic performances from throughout Michael’s career, cherry-picking incredible moments with indelible images like the first moonwalk (famously televised in Motown 25 special), or making the zombie dance choreography of the Thriller music video. Some key performances are shot in more of an immediate “live” style, bringing viewers into the concerts. (It gets loud, especially if you’re viewing in an enhanced format – if you’re hearing-sensitive, consider bringing earplugs).
Michael is in many ways a family story, as much about his relationships with his family – his hard-nosed father Joseph (Colman Domingo) who was also the Jacksons’ manager, his loving mother (Nia Long), and his siblings, primarily his brothers who who were also his bandmates (my wife pointed out to me that the family was actually larger than the movie really shows, with siblings including Janet being notably absent).
Colman Domingo’s performance as Joseph is terrific. Vilified in history (and pretty much the villain of this movie as well), Joseph Jackson, who died in 2018, is often remembered as an abusive presence, but the film also acknowledges his contribution to the family’s success, especially early on. If not for his orchestration – and his rigid and excessively harsh discipline as the patriarch of the Jackson Empire, whipping the kids into shape – the Jacksons probably would never have taken off.
The film isn’t just about family; it’s family friendly. Another side effect of skirting all the controversy is that it’s pretty clean. Again, not the most honest or least hagiographical approach, but one that works well for this story as a stunning jolt of entertainment. My own wiggly kids (9 and 11), who inherited an appreciation for Jackson’s music from their mother, were not only absolutely loving the musical journey but enthusiastically invested in the story as well.
A/V Out.
