Michael TamilYogi Review: When Michael first walks into the recording room, his voice unsteady but with a potential, it is all there. Antoine Fuqua develops such scenes to produce a Michael Jackson spectacle. This is a story of the rise, the fall, the striving and the sharpening of talent. The first half is colourful with a child star who is no less serious. The entry of Jaafar Jackson is greeted with some trepidation and interest. The songs are gorgeous. Yet, for all its ambition, this is a safe film, where celebration and not complexity is the order of the day, where it’s almost definitive rather than definitive.
The film begins in the crucial years of Michael’s childhood, at five or six years old, when he was under instruction from his father, with his four brothers. It doesn’t shy away from the childhood. There is no margin for error, the punishments are harsh and the training brutal. It is these early scenes that lay the groundwork for the emotional and psychological development of a young child who would become a worldwide phenomenon. The move from little kids to band makes sense, as does Michael rising from obscurity.
Casting, which is often the Achilles heel in this type of biopic, is a strength. The young Michael is beautifully portrayed. He’s energetic and responsive and for the first 25 minutes or so, the film. He is emotive and realistic with his facial expressions and movement.
As the film flashes back to Michael’s adolescence, we see Jaafar Jackson. I was worried about this move as it may seem like a gimmick. We see her copying many of his actions and gestures. But as the film progresses, this is less of a problem. Jaafar begins to fully take on his role. In some scenes, in regard to the album recording or performances, it feels like you’re watching Michael Jackson perform.
The musical staging is top-notch. Recording, dancing and performance is given theatrically. Particularly successful is the young Michael’s first recording, lovingly staged. The theme from his father, that life is a battle and “you can win or lose”, is also effective. This is also the film’s theme.
There is also the theme of racism, particularly in media channels, like MTV, which gave black artists fewer opportunities than white artists. This is well expressed and provides vital cultural-social context for Michael’s career.
But the film’s positives are balanced by negatives. It focuses on Michael’s journey, struggles and eventual world domination, but stops there. This makes for a celebratory tone but leaves out other aspects of his work. There are no references to the subsequent legal problems, public vilification or financial struggles. This is a film that invites admiration.
I wondered about his influence at one point in the film. He is an entertainer who commands large audiences and has a great deal of influence. The film confines this influence to show business, but doesn’t deal with it more broadly. This helps to keep the story focused, but also a bit mild.
His father’s characterisation is also somewhat limited. The film emphasises the malevolent side. He may be violent, but it’s simplistic. He is a working class father, encouraging his sons. We see his impact on Michael, but not his motives. It seems a lost opportunity.
The film is just over two hours in length and its pace is steady. It has a bit of a lull in the hospital scene, but this is quickly recovered from. The staging and performance hold interest.
The film is interesting in its conclusion in ending on Michael’s high. This doesn’t focus on the negative and ends on the triumphant note. This is a success to some extent. It’s pleasant to focus on success rather than failure. Yet the whole story might have made for a better film.
Michael is a rewarding experience. It displays the magic, mastery and ambition of a generation’s artist. It does not provide us with the whole picture, but it is engaging and at times, stunning.
Rating: 3.5/5
