Michael is about remembering and forgetting. Antoine Fuqua’s Michael Jackson biopic is a reminder of the singer-songwriter’s singular genius, his otherworldly dancing skills, his ability to whip a crowd into delirium. The film, which is out in cinemas, is also about memory-wiping.
Michael is set in the pre-scandal times, before the skin-whitening and the child molestation allegations, the bizarre public behaviour and the ultimately fatal painkiller addiction. Michael has the blessings of key Jackson family members, stars Jackson’s nephew Jaafar in the lead role and gives a plum part to the executor of the lucrative Jackson estate.
The film isn’t expected to be objective, nuanced or revelatory, and it isn’t. But it’s also undeniably exhilarating – a modern-day musical fairy tale packed with sing-along, foot-tapping chartbusters that use Michael Jackson’s original singing voice.
John Logan’s screenplay identifies the ogre whom Michael must slay: his father Joe Jackson (Colman Domingo). Joe puts a young Michael and his brothers through gruelling practice sessions. Joe frequently belts Michael and ridicules his appearance. It’s suggested more than once that Michael is himself a victim of abuse, robbed off his innocence at a young age and forced to be the family’s golden goose.
When the band The Jackson 5 takes off, 10-year-old Michael –...
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