by Josh Sewell
Chadwick Boseman’s death from colon cancer last August came as a crushing blow to many, not just because he portrayed a hugely popular superhero and was, by all accounts, a genuinely wonderful person. It was also a gut-punch because it felt like we were robbed of decades of incredible performances from one of this generation’s greatest actors.
In Ma Rainey’s Black Bottom, Netflix’s adaptation of August Wilson’s play and what turned out to be Boseman’s final film, it’s clear that’s exactly what happened. In a far-too-short career filled with iconic roles (including Black Panther, Jackie Robinson, James Brown, Thurgood Marshall and several others), his work here might be his best. In hindsight, knowing he accomplished it while his health was fading is astounding.
Netflix assembled a top-tier creative team to bring Wilson’s work from stage to screen. Some of the most recognizable behind-the-scenes names include executive producer Denzel Washington (who starred in Wilson’s Fences on Broadway and the big screen, and who hopes to eventually adapt all 10 works in the playwright’s Pittsburgh Cycle); director George C. Wolfe (who spearheaded Broadway productions of Angels in America and Bring in ’da Noise, Bring in ’da Funk); and screenwriter Ruben Santiago-Hudson (an actor, writer and director who frequently worked with Wilson).
The plot of Ma Rainey’s Black Bottom is deceptively simple, especially since most of the film takes places in only a couple of rooms (emphasizing its theatrical origins). However, the story isn’t really about what happens as much as how it happens, as well as how the characters react to their circumstances.
In 1927 Chicago, legendary “mother of the blues” Ma Rainey (Viola Davis, playing a fictionalized version of the real-life performer who crossed paths with local gospel music icon Thomas A. Dorsey) is getting ready to record a new album. She’s late for the session, so the men in her band shoot the breeze and tease one another while they wait. It begins as good-natured ribbing, but as the studio’s temperature rises, tensions escalate and the bandmates start getting personal.
Cutler (Colman Domingo), who serves as de facto leader and mediator, reminds everyone that their job is to make Ma look good. Veterans Toledo (Glynn Turman) and Slow Drag (Michael Potts) understand, but the younger, ambitious Levee (Boseman) is determined to emerge from the session with a career of his own. When the fearless, fiery Ma shows up, with her girlfriend (Taylour Paige) and nephew (Dusan Brown) in tow, she immediately engages in a battle of wills with her white manager (Jeremy Shamos) and the ill-tempered producer (Jonny Coyne) over control of her music.
Levee sees this as an opportunity to stake his claim and jumps at the chance. However, what he doesn’t realize is the events that transpire from his decision will have life-altering ramifications for everyone involved.
The technical craft on display in Ma Rainey’s Black Bottom is laudable. The dialogue-heavy film still feels like a play, but Wolfe adds plenty of compelling cinematic flourishes to give the story life outside of the claustrophobic recording studio. That includes an attention-grabbing opening scene, which follows two young Black children running through a dark forest towards a giant tent where Ma is performing to a giant, enthusiastic crowd.
Santiago-Hudson’s screenplay is also excellent, maintaining Wilson’s perceptive themes and remarkable characters while trimming the narrative down to a fast, lean 94 minutes. (The play is around two-and-a-half hours.) Still, while the film only grows more intricate and tragic on repeat viewings, viewers will likely focus most on incredible performances. Every character is complex and flawed, capable of being the hero of one scene and the villain of another.
Davis is brilliant (as always) in the title role, demonstrating her strong connection to Wilson’s work didn’t end with Fences, which earned her a well-deserved Oscar. Domingo, Turman and Potts are outstanding as well. They infuse their roles with heart and personality, rather than existing solely as metaphor delivery systems or mouthpieces for opposing perspectives that other characters can argue with.
However, because of its sheer power and the real-world baggage that unfairly comes with it, Boseman’s performance is the clear standout. As Levee, the late actor gets to run the gamut of emotions and genres. The role contains drama, comedy, suspense and – in the end – horror and tragedy. You weep for Levee even as you’re furious that he doesn’t realize the future he’s making for himself. The end of his character’s arc feels inevitable, as all of his hubris comes crashing down the moment it meets reality.
No exaggeration: the film’s final moments left me slack-jawed and gasping. It’s the exclamation point at the end of an argument the film makes the entire time: how Black artistry is appropriated by white businessmen who view its creators as disposable or hurdles in the way of their own financial gain.
I will be shocked if Boseman doesn’t get a Best Actor nomination for his captivating final role. This has been a weird, unpredictable year, so who knows if he’ll win. However, I know I’ll be rooting for him. Even symbolically, this should represent the Oscar (or Oscars) he would’ve won in the years to come, had fate not been so cruel.
Ma Rainey’s Black Bottom is rated R for language, some sexual content and brief violence. Now playing exclusively at Atlanta’s Landmark Midtown and debuts on Netflix December 18.
Grade: A-
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| Courtesy of Netflix |
In Ma Rainey’s Black Bottom, Netflix’s adaptation of August Wilson’s play and what turned out to be Boseman’s final film, it’s clear that’s exactly what happened. In a far-too-short career filled with iconic roles (including Black Panther, Jackie Robinson, James Brown, Thurgood Marshall and several others), his work here might be his best. In hindsight, knowing he accomplished it while his health was fading is astounding.
Netflix assembled a top-tier creative team to bring Wilson’s work from stage to screen. Some of the most recognizable behind-the-scenes names include executive producer Denzel Washington (who starred in Wilson’s Fences on Broadway and the big screen, and who hopes to eventually adapt all 10 works in the playwright’s Pittsburgh Cycle); director George C. Wolfe (who spearheaded Broadway productions of Angels in America and Bring in ’da Noise, Bring in ’da Funk); and screenwriter Ruben Santiago-Hudson (an actor, writer and director who frequently worked with Wilson).
The plot of Ma Rainey’s Black Bottom is deceptively simple, especially since most of the film takes places in only a couple of rooms (emphasizing its theatrical origins). However, the story isn’t really about what happens as much as how it happens, as well as how the characters react to their circumstances.
In 1927 Chicago, legendary “mother of the blues” Ma Rainey (Viola Davis, playing a fictionalized version of the real-life performer who crossed paths with local gospel music icon Thomas A. Dorsey) is getting ready to record a new album. She’s late for the session, so the men in her band shoot the breeze and tease one another while they wait. It begins as good-natured ribbing, but as the studio’s temperature rises, tensions escalate and the bandmates start getting personal.
Cutler (Colman Domingo), who serves as de facto leader and mediator, reminds everyone that their job is to make Ma look good. Veterans Toledo (Glynn Turman) and Slow Drag (Michael Potts) understand, but the younger, ambitious Levee (Boseman) is determined to emerge from the session with a career of his own. When the fearless, fiery Ma shows up, with her girlfriend (Taylour Paige) and nephew (Dusan Brown) in tow, she immediately engages in a battle of wills with her white manager (Jeremy Shamos) and the ill-tempered producer (Jonny Coyne) over control of her music.
Levee sees this as an opportunity to stake his claim and jumps at the chance. However, what he doesn’t realize is the events that transpire from his decision will have life-altering ramifications for everyone involved.
The technical craft on display in Ma Rainey’s Black Bottom is laudable. The dialogue-heavy film still feels like a play, but Wolfe adds plenty of compelling cinematic flourishes to give the story life outside of the claustrophobic recording studio. That includes an attention-grabbing opening scene, which follows two young Black children running through a dark forest towards a giant tent where Ma is performing to a giant, enthusiastic crowd.
Santiago-Hudson’s screenplay is also excellent, maintaining Wilson’s perceptive themes and remarkable characters while trimming the narrative down to a fast, lean 94 minutes. (The play is around two-and-a-half hours.) Still, while the film only grows more intricate and tragic on repeat viewings, viewers will likely focus most on incredible performances. Every character is complex and flawed, capable of being the hero of one scene and the villain of another.
Davis is brilliant (as always) in the title role, demonstrating her strong connection to Wilson’s work didn’t end with Fences, which earned her a well-deserved Oscar. Domingo, Turman and Potts are outstanding as well. They infuse their roles with heart and personality, rather than existing solely as metaphor delivery systems or mouthpieces for opposing perspectives that other characters can argue with.
However, because of its sheer power and the real-world baggage that unfairly comes with it, Boseman’s performance is the clear standout. As Levee, the late actor gets to run the gamut of emotions and genres. The role contains drama, comedy, suspense and – in the end – horror and tragedy. You weep for Levee even as you’re furious that he doesn’t realize the future he’s making for himself. The end of his character’s arc feels inevitable, as all of his hubris comes crashing down the moment it meets reality.
No exaggeration: the film’s final moments left me slack-jawed and gasping. It’s the exclamation point at the end of an argument the film makes the entire time: how Black artistry is appropriated by white businessmen who view its creators as disposable or hurdles in the way of their own financial gain.
I will be shocked if Boseman doesn’t get a Best Actor nomination for his captivating final role. This has been a weird, unpredictable year, so who knows if he’ll win. However, I know I’ll be rooting for him. Even symbolically, this should represent the Oscar (or Oscars) he would’ve won in the years to come, had fate not been so cruel.
Ma Rainey’s Black Bottom is rated R for language, some sexual content and brief violence. Now playing exclusively at Atlanta’s Landmark Midtown and debuts on Netflix December 18.
Grade: A-
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