The legend has returned to the screen, but not as a revelation. “Michael” attempts to resurrect the King of Pop, focusing on the formative years of a musical genius, yet feels strangely…incomplete. This is the first installment of a planned two-part biopic, and it arrives shrouded in family involvement – nearly all of Michael’s siblings serve as executive producers, a dynamic that profoundly shapes the narrative.
The story begins in 1966 Gary, Indiana, within the walls of the Jackson family home. Young Michael, portrayed with captivating energy by Juliano Valdi, is relentlessly driven by his father, Joe Jackson, a figure presented as a stern taskmaster. “In this life, you’re either a winner or a loser,” Joe declares, setting the stage for a relentless pursuit of stardom. The early years are a whirlwind of rehearsals and ambition, a pressure cooker forging future icons.
What unfolds is a meticulously curated journey through Michael’s ascent, a highlight reel of his greatest hits. From the infectious energy of the Jackson 5’s “ABC” to the groundbreaking sounds of “Billie Jean” and “Beat It,” the soundtrack is undeniably compelling. Iconic moments – the creation of the “Thriller” video, the Pepsi commercial mishap, the allure of Neverland – flash across the screen, presented with a glossy sheen.
Jaafar Jackson, Michael’s nephew, undertakes the daunting task of embodying his uncle. He masterfully replicates the voice and the legendary dance moves, but the film’s reluctance to delve deeper leaves his performance feeling like a remarkable impersonation rather than a fully realized portrayal. The emotional core remains elusive, a missed opportunity to truly understand the man behind the music.
A familiar pattern emerges, echoing other music biopics like “Bohemian Rhapsody.” The film heavily relies on the original recordings, with Jaafar often lip-syncing to Michael’s iconic vocals. While some blending of voices reportedly occurred, the effect feels manufactured, a shortcut that diminishes the impact of the performance. It’s a technique that pulls the viewer out of the moment, reminding them they’re watching a tribute, not a transformation.
Perhaps the most glaring omission is the avoidance of controversy. This first part concludes with the 1988 “Bad” tour, leaving a vast and turbulent period of Michael’s life untouched. Reports suggest even the ending was altered to sidestep sensitive allegations, hinting at a continued reluctance to confront the darker aspects of his story. The result is a sanitized narrative, a sugar-coated version of a complex life.
Despite the involvement of acclaimed talent – director Antoine Fuqua, screenwriter John Logan, and a supporting cast including Colman Domingo, Miles Teller, and Nia Long – “Michael” feels strangely hollow. The film seems less interested in exploring the artist’s soul and more focused on prompting audiences to revisit his music. It’s a beautifully produced, yet ultimately calculated, exercise in brand preservation.
The film’s greatest strength is its music, but that’s also its most significant weakness. It feels less like a cinematic experience and more like an extended, elaborately produced advertisement for the Jackson estate’s vast catalog. While devoted fans will undoubtedly revel in the nostalgia, those seeking a truly insightful and unflinching portrait of Michael Jackson will likely be left wanting.
“Michael” is rated PG-13 for thematic elements, language, and smoking. The film runs for 2 hours and 7 minutes and is currently playing in theaters.
