As shorthand to telegraph the boy/man dichotomy of the singer as a young adult later in the narrative, it’s delivered with something akin to a sledgehammer, but this is a film made by people who appear not to know the meaning of the word "subtle".
Michael becomes a child star, he and his brothers in the Jackson Five badgered and bullied by their overbearing father Joe (Colman Domingo), before breaking free to become a solo sensation spouting woolly-headed wisdom, and concluding with the sibling reunion of the mid-80s Victory tour prior to the harder-fought battles that dogged the rest of his life.
What little tangible drama there is to the story comes from the scenes of conflict between Michael and Jackson senior, and although Domingo is an irrefutably fine actor he’s working with a screenplay that requires him to do little more than leaf through 'The 'Bumper Book of Volatile Celebrity Dad Caricatures' (see also Stephen Graham in Springsteen: Deliver Me From Nowhere, or Forest Whitaker as Aretha Franklin’s father in Respect).
Screen time that might have dug deeper into the relationship is sacrificed to keep the focus on Michael and his meteoric rise to the top. The youngster portrayed with cutesy charm by Juliano Krue Valdi, until an awkward dissolve introduces us to the (in theory) grownup version played by Jaafar Jackson, the real-life son of Jermaine.
View Green Video on the source websiteMichael watches newsreel of riots in urban America, then decides to stem the tide of gang-on-gang violence through the medium of interpretive dance; Michael lights up the lives of burns victim children in hospital; Michael is the most enlightened man on the planet, the storytellers would have us believe.
Key figures outside the family are given equally short shrift. Suzanne de Passe (Laura Harrier), the Motown Records executive who discovered the Jacksons declares Michael has a "God-given talent" after hearing him sing just two lines of a lyric, then leaves before the end of the song; label boss Berry Gordy (Larenz Tate) coaches his future star at an early recording session, but there’s no reference to the fractious split between mentor and moneymaker when Michael jumps ship to a new home at Epic and the creation of mega-hit albums Off The Wall and Thriller.
And so it goes on, drifting from one underwritten scene to the next, airbrushing incidents and figures integral to them, for fear they get in the way of keeping the spotlight on Michael in admittedly impressively staged musical sequences or, less impressively, mawkish utterances about making the world a better place.
Michael is released in UK cinemas on Wednesday 22 April.
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