Italian
In theaters from April 24, directed by Antoine Fuqua with popstar Jaafar, son of Jermaine, as the protagonist, it tells the story of the career, from the beginnings with the Jackson Five, to the spectacular worldwide success
Exposing the contradictions of a star like Michael Jackson through a story that became a film was, all in all, a calculated risk that the entire production took on its shoulders, almost like a menhir. And everything that happens in the 127 minutes undoubtedly reflects this, almost as if it were an indissoluble bond. It starts from a dilemma, obviously still unresolved, that draws from the indispensable soundtrack, which more than just a score represents the film as a whole, right from the first frames, to the point of overshadowing the story or at least deeply characterizing it, almost obscuring the plot of a life that was certainly not simple. With the iconic traits that the black shoes, white jackets, and moonwalks manage to gently bestow. The main mission of restoring the star and his talent succeeds, starting from Indiana, his birthplace, and from his father, who makes violence and oppression a distinctive trait. But it’s obvious, the film goes beyond, just like Michael’s life, which takes the turn of mainstream success with Thriller, capable of abruptly changing the game, becoming the album that not only is listened to but also breaks through the television screen, through the night of the living dead and zombies. And it’s just shy of a revolution. Like the entire reconstruction of that golden era, which the direction skillfully gifts us. Michael’s musical genius, which fails to inhabit the man, will then do the rest, with all those pieces that the film chases but does not unravel, giving rise to a probable sequel and a thousand controversies that rage. Offspring of a spark that does not find the intimate charge of in-depth exploration. An exhaustive exercise that should boldly dare.
Spotted for you by Mauro Lama
