In the days leading up to the theatrical release of the James Brown biopic “Get On Up,” music and film fans are wondering how the film’s star – relative Hollywood newcomer Chadwick Boseman – will fare at convincingly carrying the film.
The answer: with plenty of soul.
Boseman nailed the seemingly impossible task of stepping into the shoes of James Brown. Every nuance – his signature side split and stage glide, the sometimes inaudible Southern mumble speaking voice – was blended to perfection in a performance that felt more like immersion than imitation.
Sadly, what currently stands as Boseman’s defining moment on film was nearly destroyed by a choppy, sloppy, out-of-sync storyline that skews somewhere between schizophrenic and bi-polar.
And through predictably played moments, director Tate Taylor actually made the story about one of the coolest men on the planet seem a bit corny.
But editor Michael McCusker and screenwriters Jez and John-Henry Butterworth are also to fault for the film never quite finding a format, rhythm or even consistency in its two-and-a-half hours.
Brown’s story gave “Get On Up” creators plenty to work with. However, whittling down a prolific career as a profound musical influencer with an action-packed life that created musical history and controversy in the same breath takes a talent comparable to James’ gifts. This film lacks that.
Instead of a streamlined vision for illustrating how a poor boy from the South grew into “The Godfather of Soul,” viewers are tugged back and forth with ill-placed flashbacks and chronological disorder. Scenes bounced throughout the decades of the life and career of James Brown more sporadically than an MP3 player in shuffle mode.
The film starts in the ‘80s, then jumps to the ‘60s before a double back to Brown’s challenging and impoverished childhood – and all for no reason in particular.
The middle of the film sees more consistency and natural progression than the beginning and end, but still hints at disarray.
But the film has an invaluable asset in its leading man. Because he’s so committed to nailing his performance, audiences will stay on the ride with him, even when they wonder if it was worth it. The film’s failures may cost Boseman recognition during awards season, though he most certainly deserves it.
The chemistry between Boseman and co-star Nelsan Ellis as Bobby Byrd was just as convincing. Ellis effectively played against Boseman as the friend who famously stood in Brown’s shadow, both on and off stage.
And even amidst the star power of Dan Aykroyd, Viola Davis, Jill Scott and Octavia Spencer, it’s the connection between Boseman and Ellis that engages viewers most.
The heavy use of Brown’s music also lends insight to his spirit and gift as a musician and performer and gives viewers an enjoyable frame of reference.
The full-length musical performances serve as further evidence of Boseman’s mastery of Brown, but the film fails to uncover the man behind the music.
“Get on Up” opens in theatres nationwide on Friday, Aug. 1. The film is Rated PG-13 with a running time of 139 minutes.
