Synopsis: Tensions rise when trailblazing blues singer Ma Rainey and her band gather at a recording studio in Chicago in 1927.
Stars: Viola Davis, Chadwick Boseman, Glynn Turman, Colman Domingo, Michael Potts, Jonny Coyne, Taylour Paige, Jeremy Shamos, Dusan Brown
Director: George C. Wolfe
Running Length: 94 minutes
TMMM Score: (6/10)
Review: Since April, Broadway and musical theater fans have been starved for ways to watch live performances and have had to settle for pre-recorded shows from the archives of regional and national theaters or newly produced live streams that don’t always go off without a hitch. Nothing is going to replace that feeling of actually being in the theater, shoulder-to-shoulder with your neighbor, hearing the rustle of the programs, the annoying cellphone noise, and, of course, the badly timed cough which will only be more of an annoyance in the future.
As theaters continue to look for alternative arrangements until the lockdown on Broadway playhouses has ended, Netflix has been bringing a little bit of Broadway to audiences in ways they may not even realize. First there was the September adaptation of the revival of The Boys in the Band, then the recent movie version of the fun musical The Prom (sadly, not provided to me in time for an official review), and an upcoming taped recording of Diana, the stage musical that was in NY previews when COVID-19 shut down Broadway in April 2020. Jury is still out on how Diana will fare and The Prom transitioned nicely to the small screen but The Boys in the Band, though entertaining, felt like the stage-bound play it was…and that’s not the only stage-to-screen adaptation premiering on Netflix before the end of 2020.
Looking at the cast for Ma Rainey’s Black Bottom on Netflix is enough to make one want to shell out the price of a premium ticket to see a production of August Wilson’s 1982 play in person on the New York stage. Oscar-winner Viola Davis (Suicide Squad) is the real-life “Mother of the Blues”, one of the first African-American professional blues singers who recorded her music early on, becoming a pioneer in that field for her race and gender. In Wilson’s play, a fictionalized recording session for Ma Rainey and her band that quickly goes off the rails, there’s a real fire to the dialogue and it bristles with the sweat and heat of the late 1920s summer day it takes place on. The scenes between the veteran band members and Levee the cavalier trumpeter crackle and anytime Ma Rainey gets fired up demanding the respect and quality treatment her white agent provides his other clients, the electricity starts to create massive sparks.
The trouble is, this isn’t live on stage or even a performance that was filmed to be broadcast later. It’s an adaptation using Ruben Santiago-Hudson’s screenplay and directed by George C. Wolfe. That it doesn’t have the same verve and pulsating rhythm Wilson’s work has when seen in the intimacy of the live-theater setting isn’t necessarily the fault of the actors, but it does have to fall on someone, somewhere. The scenes feel stagey, almost more-so than any stage-to-film movie I’ve seen in recent memory and it becomes so reverential to Wilson’s work that it begins to do damage to the motivation of the piece. At least Denzel Washignton’s superior adaptation of Wilson’s Fences in 2016 was able to find ways to open-up the story beyond the backyard setting of Wilson’s original work. Keeping everyone cooped up is part of what makes the tension boil over during the recording session, true, but there are a number of interludes that could have more movement and Wolfe has directed enough films to know how to keep the camera moving while continuing to establish character.
What the film also has is the responsibility of carrying star Chadwick Boseman’s (Black Panther) final performance in a leading role before tragically passing away earlier in 2020 after a private ongoing battle with cancer. A genius actor with years ahead of him, I think a number of people want this film and the performance to be at a certain level of greatness as a way to memorialize him and that’s unfair to put all that weight solely onto the actor. Thankfully, while the film may not live up to the expectations I had going in, Boseman does and turns in a haunting performance…another in a long line of winning acting choices the young actor had under his belt when he passed away. You can’t hang the whole movie just on him but he’s definitely due the kudos of his performance being a knockout.
As for Davis, the role tends to overwhelm her just like her outward appearance and prosthetics threaten to overtake her performance at times. It’s odd; the garish eyes and glittering teeth, body glistening with sweat and ample bosom feel like they are from a different iteration of this character. Pictures of the real Ma Rainey are shown at the end and none of them have the type of matted, dripping, ghoulish make-up we see her in throughout the film. I don’t doubt it is historically accurate but I would have loved to see some kind of context for the look so we have a comparison. Match that with a voice that is supposedly Davis with some “extra help” (that needs to be investigated) and there’s something that just feels like the dial was turned too far with this one…Davis is one of the best actresses working today and if this were onstage I’d probably be insanely crazy for how good she was. On screen though, it comes off as overkill.
Where more attention should really be paid is the three supporting actors making up the rest of the band. Colman Domingo, Michael Potts, and especially Glynn Turman are dynamite as old friends who have seen it all as members of Ma Rainey’s bad. They have the war stories to tell of their touring days with her and the injuries to back them up. There’s also pain bubbling below the surface and it takes a wild card like Levee to raise the heat while they wait for Ma Rainey to get ready to sing. Each get a nice moment in the spotlight with Domingo (If Beale Street Could Talk) emerging as the mediator between the band and Ma Rainey and Turman (Bumblebee) hilarious at one point but ultimately heartbreaking in the film’s final moments.
Even at a short 94 minutes, Ma Rainey’s Black Bottom feels longer than it should. It’s one of those watches that you wind up feeling like you should be getting more out of for your own sake more than the sake of the movie and that’s when you need to let go and admit a movie just isn’t working for you. Boseman’s final leading performance is a memorable turn and he’s surrounded by top-tier talent in supporting roles, but everyone is working with material that is unavoidably stage bound and immovable. Watch the movie now but seek out a live performance of it when things get back to some sense of normalcy in 2021 (hopefully!).
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