If you haven’t heard of Chadwick Boseman, prepare to hear
his name repeatedly during award season.
“Get On Up” is the life story of James Brown, “The Godfather
of Soul”, and Boseman’s transformational performance as Brown is unforgettable.
His appearance in literally the first frame is eerie; Boseman nails Brown’s
speech pattern and mannerisms, exuding charisma, arrogance and brilliance,
often in the same scene.
Brown was a complicated man, and the film plants those seeds
by interspersing (mostly horrifying) moments from his childhood. He could be
sweet and empathetic; shortly after Martin Luther King’s death, “James” uses
his influence to calm tensions between an emotional crowd and the police at the
Boston Garden. But he could also be selfish, menacing, and violent. In an
upsetting scene, he brutally strikes his wife, DeeDee (Jill Scott), a pattern
of violence he learned from his estranged father.
Despite Brown’s deep flaws, he became one of the most
beloved and iconic Americans in history; his music and showmanship are
undeniable. Similarly, Boseman’s performance raises the level of everything and
everyone around him.
In addition to childhood flashbacks, the movie has a
non-linear time structure. Fortunately, the hair, make-up and costume people are
exemplary. Little Richard (Brandon Smith) was instantly recognizable. The
contrast in styles from the different eras made the time jumps far more
effective than they otherwise would have been.
An excellent supporting cast, many of which are reunited
with director Tate Taylor from “The Help”, joins Boseman. Nelsan Ellis (Bobby
Byrd), Viola Davis (Susie Brown), and Octavia Spencer (Aunt Honey), all
appeared in the 2011 film, with Spencer winning the Oscar for Best Supporting
Actress. Dan Aykroyd, who appeared with James Brown in “The Blues Brothers”,
plays Ben Bart, James’ manager and friend.
I love James Brown’s music, and there is a lot of it here.
If you’re a fan, you will enjoy every second of seeing the live performances
recreated. But if you don’t like this genre, then those parts may feel like a
slog. I was practically dancing in my seat, surely looking every bit as lame as
Syd Nathan’s take on the “Mashed Potato”.
Criticisms of the film’s historical accuracy are already
popping up, as they often do with biopics. But it isn’t a documentary, and I
have difficulty, for instance, slamming the movie for possibly giving Brown slightly
more credit for his business acumen than he deserved. William Wallace probably
didn’t scream, “FREEDOM!” at the precise moment Mel Gibson does in
“Braveheart”, but the line fits the movie and the character. Similarly, “Get On
Up” captures Brown’s essence and place in history without pandering.
My biggest question is: Why did James break the fourth wall
multiple times? It was bizarre and unnecessary. Each time James addressed the
audience, I was taken out of the movie.
From a business perspective, it’s also unfortunate that the
movie’s first two weeks in theatres coincided with the openings of two
box-office hits, “Guardians of the Galaxy” and “Teenage Mutant Ninja Turtles”.
The movie business has been slow this summer, and if “Get On Up” had been
released during almost any other week, it would have likely grossed more than
$22.9 million it has thus far.
If that poor timing costs Boseman the recognition he
deserves, that would be a travesty.
