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Ambitious production transforms legendary trajectory into superficial narrative by betting on a predictable formula, avoiding delicate controversies, and leaving important gaps in the story of one of the greatest artists in world music, raising inevitable questions about everything that was left out of the biopic
The biopic of Michael Jackson directed by Antoine Fuqua arrives surrounded by expectation but quickly reveals an approach that prioritizes aesthetics and convenience over depth. With a runtime of 127 minutes, the film presents itself almost as a sequence of interconnected clips, gathering practically all the typical clichés of music films: recording sessions with impressed producers, tour bus travels, rise in charts, and meetings with corporate executives.
The information was disclosed by “The Guardian”, which highlighted, according to critical analysis, the superficial nature of the production and the film’s difficulty in exploring more complex aspects of the artist’s life. In this sense, the film quickly traverses from the Jackson Five days, when Michael was still a child subjected to the strict control of his father Joe Jackson, to the peak of his solo career, culminating in the grand show at Wembley Stadium in 1988, when the singer was only 30 years old.
However, despite this seemingly complete timeline, the narrative ends abruptly with the phrase “The story continues,” suggesting a possible sequel. This detail raises speculations about a potential “Michael 2,” which, according to reports, is being considered by producer Graham King in partnership with the Jackson family estate. Still, if this sequel materializes, a completely different style will be necessary to address the more controversial moments of the artist’s life.
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Additionally, the film features Jaafar Jackson, Michael’s nephew and Jermaine Jackson’s son, in the lead role. The 29-year-old actor delivers a convincing performance on stage, accurately reproducing the movements and iconic vocal style of the singer. Indeed, the musical scenes manage to convey some of the energy that made Michael a global icon.
On the other hand, when the narrative strays from the stage, the main weaknesses of the production emerge. The Michael portrayed off the spotlight is presented in an excessively simplified manner, with an almost childlike personality, marked by constant smiles and little emotional depth. Consequently, the film fails to explore the psychological complexities and internal conflicts of the artist.
Another point that stands out is the treatment given to the secondary characters. With the exception of Joe Jackson, played by Colman Domingo, who takes on the role of antagonist with intensity, most of the supporting characters have a practically silent participation. Nia Long, as Katherine Jackson, delivers a performance limited by a poorly developed script, while other family members appear in an almost decorative manner.
Similarly, important figures in Michael’s career, such as Quincy Jones, played by Kendrick Sampson, receive little attention. In contrast, characters like security guard Bill Bray gain disproportionate focus, raising questions about the narrative choices of the script.
Still, there are specific moments that manage to stand out. One example is the recreation of the production of the “Thriller” music video, where Michael interacts with director John Landis in a light and even humorous way. Interestingly, this short sequence manages to convey more authenticity and energy than much of the film.
However, the biggest problem of the work lies in its refusal to address more delicate themes. The film avoids delving into the impact of the abuses suffered by Michael in childhood, as well as completely ignoring the controversies that marked his adult life, including behaviors considered strange and serious accusations. Thus, the narrative remains in a safe zone but loses relevance and credibility.
Consequently, the result is a film that is closer to superficial entertainment, comparable to a cruise show, than to a consistent biographical analysis. Despite the dramatic and historical potential of Michael Jackson’s journey, the production opts for a polished approach that is visually pleasing but fails to provoke reflection.
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