Ma Rainey's Black Bottom (A- or 3.5/4 stars)
'Ma Rainey's Black Bottom' (directed by George C. Wolfe & adapted from an August Wilson play) tells a taut, engrossing tale that takes aim at issues of race, religion & the exploitation of black musicians by white music producers in early 20th c. America. Though the plot is simple, it provides more than enough content for dynamic acting, character development & deep thematic exploration. This story is as relevant today as it was back in the sweltering summer of 1927. Known as the "Mother of the Blues", Ma Rainey (Viola Davis) makes her way North to Chicago to record a new album with her band, including Cutler (Colman Domingo), Toledo (Glynn Turman), Slow Drag (Michael Potts), & newcomer Levee (Chadwick Boseman, in his final role).
Levee is a headstrong, hotshot trumpeter who wants to steal Ma's spotlight ... or even steal Ma's flirty girlfriend, Dussie Mae (Taylour Paige). While practicing in the studio's claustrophobic basement, conversation btwn. the 4 band mates starts lightly enough before turning quite dark. Levee, the talented rebel with a music style fit for the future, reveals a disheartening secret from his past that has altered his perspective toward God & humanity. He & Cutler argue over comments made about religion; this confrontation hints at Levee's emotional instability. All the while, fiery, sweat-slickened Ma knows her worth. She bristles while refusing to capitulate to her opportunist white manager Irvin (Jeremy Shamos) & exasperated white record producer Sturdyvant (Jonathan Coyne); both of whom want to control her music; "They don't care nothing about me. All they want is my voice". Drama ensues.
'Ma Rainey's Black Bottom' is a small film with large ideas; made more emotionally intense by the actors' soulful performances + some harsh truths at the core of the story. When I say small, I mean that you could tell that the film's has theatrical roots; what with its focus on character, dialogue-heavy scenes & stagy settings (the few exterior shots are of Chicago's city streets, to open things up). The muggy interiors feel restrictive in a symbolic sense; an expression of the oppression that Black people have experienced. In particular, Levee's antipathy toward God is understandable {questions about white people once using their religion to pacify/control black people}. Though his decision become increasingly deranged, it's hard not to see him as a victim.
The indomitable Viola Davis brings weariness & a seething, slow burn resentment to legendary pioneer, Ma Rainey. One smoldering look through her blemished make-up sends the men around her scrambling. She is forceful, compelling & stand-ups to the white man in an era when that was nearly unimaginable. And Chadwick Boseman's last film before his untimely death from cancer at age 43 shows the full range of his acting prowess. He has impressed as Jackie Robinson, James Brown, Thurgood Marshall & Black Panther, but Levee knocks them all aside. In 86 fleet minutes {before credits roll}, Boseman shows us a complex character who, all at once, is talented, charismatic, boastful, charming, and yet also fragile, vulnerable, traumatized ... and volcanic. Levee is a young man who recalls the racist horrors of his past, and a man who deserves a better present & future than the ones he's got.
The actors playing the other musicians - particularly Glynn Turman - have moments to shine, as well. Director Wolfe's generosity to his performers is evident in every shot. Speaking of every shot, credit cinematographer Tobias Schliessler for making this small production more cinematic. Branford Marsalis offers a stellar music score. And Ann Roth's period costumes are perfection. Though tinged with dramatic heft & tragedy, the craftsmanship & charismatic performances elevate this movie, which has much to say about the experience of America's black people both then & now. Stellar film.
Levee is a headstrong, hotshot trumpeter who wants to steal Ma's spotlight ... or even steal Ma's flirty girlfriend, Dussie Mae (Taylour Paige). While practicing in the studio's claustrophobic basement, conversation btwn. the 4 band mates starts lightly enough before turning quite dark. Levee, the talented rebel with a music style fit for the future, reveals a disheartening secret from his past that has altered his perspective toward God & humanity. He & Cutler argue over comments made about religion; this confrontation hints at Levee's emotional instability. All the while, fiery, sweat-slickened Ma knows her worth. She bristles while refusing to capitulate to her opportunist white manager Irvin (Jeremy Shamos) & exasperated white record producer Sturdyvant (Jonathan Coyne); both of whom want to control her music; "They don't care nothing about me. All they want is my voice". Drama ensues.
'Ma Rainey's Black Bottom' is a small film with large ideas; made more emotionally intense by the actors' soulful performances + some harsh truths at the core of the story. When I say small, I mean that you could tell that the film's has theatrical roots; what with its focus on character, dialogue-heavy scenes & stagy settings (the few exterior shots are of Chicago's city streets, to open things up). The muggy interiors feel restrictive in a symbolic sense; an expression of the oppression that Black people have experienced. In particular, Levee's antipathy toward God is understandable {questions about white people once using their religion to pacify/control black people}. Though his decision become increasingly deranged, it's hard not to see him as a victim.
The indomitable Viola Davis brings weariness & a seething, slow burn resentment to legendary pioneer, Ma Rainey. One smoldering look through her blemished make-up sends the men around her scrambling. She is forceful, compelling & stand-ups to the white man in an era when that was nearly unimaginable. And Chadwick Boseman's last film before his untimely death from cancer at age 43 shows the full range of his acting prowess. He has impressed as Jackie Robinson, James Brown, Thurgood Marshall & Black Panther, but Levee knocks them all aside. In 86 fleet minutes {before credits roll}, Boseman shows us a complex character who, all at once, is talented, charismatic, boastful, charming, and yet also fragile, vulnerable, traumatized ... and volcanic. Levee is a young man who recalls the racist horrors of his past, and a man who deserves a better present & future than the ones he's got.
The actors playing the other musicians - particularly Glynn Turman - have moments to shine, as well. Director Wolfe's generosity to his performers is evident in every shot. Speaking of every shot, credit cinematographer Tobias Schliessler for making this small production more cinematic. Branford Marsalis offers a stellar music score. And Ann Roth's period costumes are perfection. Though tinged with dramatic heft & tragedy, the craftsmanship & charismatic performances elevate this movie, which has much to say about the experience of America's black people both then & now. Stellar film.