Shadows on the Wall

Michael

dir Antoine Fuqua
scr John Logan
prd Graham King, John Branca, John McClain
with Jaafar Jackson, Juliano Valdi, Colman Domingo, Nia Long, Miles Teller, Larenz Tate, Kendrick Sampson, KeiLyn Durrel Jones, Mike Myers, Laura Harrier, Deon Cole, Liv Symone
release US/UK 24.Apr.26
26/US Lionsgate 2h07

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Covering the first half of Michael Jackson's career, from 1966 to 1988, Antoine Fuqua's biopic adeptly outlines the story, engaging the audience with lots of great music. This helps make up for the rather thinly drawn characters and a far too glowing approach. Oddly, the only role that emerges with any bite is the antagonist of the piece, patriarch Joseph Jackson, played with unflinching intensity by Colman Domingo.

Coaching five of his sons to perform with soulful precision, the abusive Joseph (Domingo) rightfully places young Michael (Valdi) front and centre. Local popularity in Chicago leads to national stardom for the Jackson 5 under the tutelage of Motown's Barry Gordy (Tate). So the family relocates to luxury in California. And as he approaches 20, Michael (now Jackson) creates a separate solo career with the help of lawyer-manager John Branca (Teller) and producer Quincy Jones (Sampson). But Michael struggles to separate himself from his father's control, even with the support of loving mother Katherine (Long).

Aside from Joseph's freakishly controlling behaviour, this film feels soft around the edges. Katherine is such an adoring mother that she seems to have no personality of her own. The brothers and one sister blur into the background (another brother and two sisters are completely missing). Along with Domingo's excellent performance, side characters also add some spark of attitude, most notably a lively cameo from Myers as record exec Walter Yetnikoff.

Frustratingly, the script and direction never offer any nuance around Michael himself. In his acting debut, Michael's nephew Jaafar Jackson is impressive, especially as he recreates those iconic dance moves. He also skilfully captures his uncle's underlying earnestness. But the film shies away from awkward textures, so Michael is little more than a lonely, prodigious genius who wanted to help everyone he met.

There's little insight here beyond what's already been documented. The final act covers his serious injury on a film set, which drives him to finally cut ties with his father while also introducing him to painkillers. But even here the conflicts are underplayed, for example eliminating the wrinkle of the family's religious beliefs. That said, the film does celebrate Michael's music with energy and style, recreating memorable performances and behind-the-scenes moments to remind us what a master performer he was. The film ends with a promise that it will tell the rest of his story. But we can't help but wonder if it will treat even thornier events with the same nonchalance.

themes, language, violence 20.Apr.26

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