I think we can all agree that it's about time we start bullying anyone who says that we need more film adaptations of stage plays and this is just one shining example of why. George C. Wolfe's Ma Rainey's Black Bottom is a fairly mediocre movie containing many pieces of what would potentially make a favorite of mine (jazz music, great performances, Chadwick Boseman) but really fails to bring them all together in a satisfying, cinematic way. The elements that did stand out, including the high octane energy of the whole story and the brilliant performances from these two powerhouse performers, are just fantastic and really held this whole film together. However, I could not help but shake the theatrical atmosphere of the film's source material for the life of me and while that could have been a good choice, it never quite worked for me. Even though I was not too on board with a lot of what Wolfe was trying to sell me, I can still see and appreciate why this film is getting so much acclaim.
Ma Rainey (Viola Davis) is a renowned jazz singer known as the "Mother of the Blues" who is trying to record a new album with a white-managed studio. When she goes into the studio to record, she must deal with her management, artistic differences, and a brashly ambitious trumpet player named Levee (Chadwick Boseman) that challenges her every move as the two fight for creative supremacy. This script, written by Ruben Santiago-Hudson and adapted from the stage play of the same name by August Wilson, is a bit lacking when it comes to really delving deep into its characters. The premise that a jazz singer and her horn player are at odds can make for a lot of fantastic tension and I believe that this conflict really only works best on stage. If I were to have seen this film in a live, theatrical setting, I would have appreciated the story a lot more but seeing this tale play out on a screen just did not quite do anything for me. Santiago-Hudson tries his hardest to adapt this story into an exciting, jazz experience but the lack of background and knowledge of these characters makes me care about them a lot less. This is a shame because the two leads and the supporting band all have interesting enough backgrounds to explore but Santiago-Hudson never really goes there beyond the standing conflict between them all in the studio. Wolfe's direction does not do this story any favors either because it felt like it was stuck in a weird sense of staginess that it never dared to escape. If a filmmaker is going to adapt a stage play into a film, I truly believe that they should either dive headfirst into making the film seem as much like a play as possible or go the complete opposite direction and make the film an entirely new approach. Ma Rainey's Black Bottom felt like it was smack dab in the middle of those two and because of that, felt very awkward in its blocking and scene staging. Extended sequences throughout this film felt like they were done in one take and honestly, some 1917-esque shooting techniques would have made this film a lot more engaging theatrically.
The late and undeniably great Chadwick Boseman is the definite highlight of this entire film and his performance alone deserves all of the recognition that it is getting. He embodies this role of Levee better than anyone, including me, could have ever imagined. The charisma and energy that Boseman brings to his performance is astounding and really cements him as one of the most talented performers of our day and age. Even though I was only mildly invested in Ma Rainey's Black Bottom, I am so glad that this film could have been Boseman's last. Not only does he make it his own and steal every scene that he occupies but he really gives the role his all and it functions as an astounding reminder of his late talent. The performance from Davis as Ma Rainey was just as awe-inspiring and her turn as the great jazz singer is mesmerizing to watch. She practically disappears into her role and makes her titular character's presence incredibly known. Both of the leads' performances were great and the supporting cast, including Colman Domingo, Glynn Turman, and Michael Potts were all great as well but I can't help but feel the lack of timelessness to this story. I guess that I am just tired of seeing black performers almost exclusively play roles where their characters are experiencing some kind of oppression or racial conflict because this film did nothing to go against that. Yes, these stories will forever be important to the culture and memories of us all as a people but I am just exhausted of seeing them used as Oscar bait. There are so many genuinely interesting and original black stories out there being made every day and I just wish that studios would give more voices a chance. However, any excuse for Boseman and Davis to flex their talents and for me to listen to some absolutely incredible jazz is always a good time and for that, I am glad that the musicality and technical prowess that this film showed was so prevalent. I don't think this will be one of my favorites of this year for any reason but it was definitely not a complete waste of my time.
Ma Rainey's Black Bottom is a serviceable film but works to send off Chadwick Boseman in the best form possible: a grand performance in what may be one of his best roles. This film is really nothing I feel like I would need to revisit because I knew exactly what it would be within the first act or so and frankly, I am a bit disappointed that this was not as marvelous as I had believed it would be. I loved the performances from its leads and the classic, jazz atmosphere that Wolfe is able to build but as a whole, this movie was just fine. Which is all it really needed to be.
My Rating: ★★★
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