BuzzSugar

Cadillac Records: Spot-On Performances Bring Legends to Life

BuzzSugar — Fri, 05 Dec 2008 11:30:33 -0800

There's plenty wrong with director Darnell Martin's biopic about Chicago's famous record label Chess Records, including the confusing title: Cadillac Records. What with the production quality that makes the film look like a sound stage, amateurish editing, and a script that bites off too many legends than it can chew, this movie's got issues.

But you know what? I forgive it these faults for two reasons: the performances are out-of-this-world good (Beyonce actually sets the screen on fire), and the awesome music is prominently on display with most of the actors doing most of the singing. The resulting experience is less a cerebral one (it is awfully formulaic) and more primal. The music moved me, and the performances are so powerful they got under my skin and stayed with me for days.

To see what else I so enjoyed about this ensemble cast (including what might be my favorite Mos Def performance ever), read more.

The musical biopic is as formulaic as a Hollywood genre gets these days, and Cadillac Records does nothing to break free of the now-predictable twists and turns. Improbable rise to fame after overcoming hardship? Check. Breakout moment where the artist really becomes a star? Check. Fame that comes with an emotional price to pay? Check. Drug and alcohol use and abuse? Oh, of course. And the men, they will not be faithful to their wives, and the wives, they will be so sad but will stoically love their tortured artists anyway. You can expect all these tiring cliches and more from this movie.

But the story of Chicago's Chess Records is not only compelling, it's important. Founded by Leonard Chess (Adrien Brody), this itty-bitty record label made stars out of folks like Muddy Waters (who Jeffrey Wright plays with a fantastically down-and-dirty swagger). Bursting with talent, each new artist that Leonard takes on struggles with the demons you'd expect to plague anyone who reaches heights they've never imagined in a society that doesn't think they deserve it. The movie portrays a sad time in America's history indeed, when the powers that be even tried to keep the songs on the radio separate but equal. But the music will find a way, and so it did when the raucous, soulful blues pouring out of Chess found an audience.

As earnestly as this movie handles the music-sees-no-color theme (Cedric the Entertainer does some voiceover narration that doesn't help with the hokey factor), I was still deeply moved. This has less to do with the facts of the story and more to do with the raw emotion and pure joy radiating off each of these performers. Beyonce's Etta James is sassy, hardened, and bursting at the seams - physically and emotionally - with feelings of self-hate due to a lifetime of rejection. When she sings, you really do feel her pain and are never sure if she's going to break down midsong in a puddle of tears or punch someone. My other favorite is Mos Def, who plays Chuck Berry with aplomb. He runs off with the scene each and every time he's on the screen.

These were turbulent times, and the pacing of the movie reflects that. It sweats and jams along at a speed that rarely sags, with musical performances that either break out in gun shots, yelling, or a growl. A stronger center would have helped the narrative out a bit, and it seems that that's what they were trying to do with Brody's character. Chess has a nose for business and cares about his artists, but too often the personal and professional collide, resulting in the kind of paternalistic treatment from a white dude that these musicians have endured their whole lives. Unfortunately, this character isn't filled out enough here, which makes caring about him difficult and gives all these plot lines nothing to rotate around. As entertaining as they all are, a movie focused on one, maybe two, of these artists would have sufficed (as it is, it's like Ray times five). This isn't the movie these musical founders deserve, but these are the best performances anyone concerned with their legacies could ask for.

Photos courtesy of Sony Pictures

Movie Preview: Cadillac Records

BuzzSugar — Wed, 05 Nov 2008 05:45:45 -0800

Well, here it is, folks: A real look at Cadillac Records, the musical biopic people have been buzzing about lately - especially since we first caught a glimpse of Beyonce as Etta James. The movie focuses on several legendary greats, like Muddy Waters, Little Walter, Chuck Berry, and Leonard Chess, portrayed by the likes of Jeffrey Wright, Columbus Short, Mos Def and Adrien Brody.

The story chronicles the rise of Chess Records in 1950s Chicago when, as the voiceover explains, "Sex had a sound. Danger had a rhythm. And freedom had a music all its own." Cadillac Records opens Dec. 5. To check out the trailer, read more.

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W: Too Little, Too Soon

BuzzSugar — Fri, 17 Oct 2008 08:30:33 -0700

No matter your political persuasion, most can agree that the presidency of George W. Bush is concluding on a low and solemn note, the full consequences of his years in office still unknown. There is no doubt he is one of the most controversial figures of a generation, and his life will provide vast and fertile ground for dramatists someday. Which brings me to my basic conclusion that someday is not here yet, and Oliver Stone's new biopic of the president, W, is a half-baked attempt at telling Bush's story and it suffers from the fact that the real-life tale is far from being over.

There is so much to think about when it comes to the life of Dubya. His transformation from a spoiled ne'er-do-well to the leader of the free world is good stuff. Because of the timing and the subject, it's the kind of biography that requires a director to have a point of view and a nuanced storytelling ability. Stone brings neither to his movie and the effect is a shallow psychoanalysis of Bush that too often borders on absurd and darkly funny in ways that I'm not sure was intentional. There is one thing that nearly salvages the whole ordeal, though, and that's Josh Brolin. To see why, just read more.

The truth is we don't know how this story ends yet, but most of us do know how it all began: Jr. started out as a silver-spooner born into a politically influential family. He aimlessly boozed his way through life without much consequence until he got married and religious and decided to make something of himself. All of this is more or less depicted in the movie.

The overarching Freudian theme is how Bush Jr. is forever wilting under the weighty expectations of his father (played nicely by James Cromwell), who has invested the family's political legacy in brother Jeb anyway. Basically the movie's premise is that Dubya needed a hug from his dad, and had he gotten that kind of love and support he may have ended up elsewhere (maybe he would have been baseball commissioner, which is suggested to have been his first love). But it was his drive to prove everyone wrong - along with a sign from God - that drove him to be president, despite being emotionally undermined by his dad along the way.

It's the kind of flimsy pop psychology that reminds me of an Oprah episode - and that's not even the biggest problem with it. The real laughs (intended or not) come from the cast assembled to portray Bush's cabinet, including: Richard Dreyfuss as Dick Cheney, Thandie Newton as Condoleezza Rice, Scott Glenn as Donald Rumsfeld and Jeffrey Wright as Colin Powell. Whether coming up with the sound bite "Axis of Evil" in the oval office or planning world domination in a dark, cave-like war room a la Dr. Strangelove, the film lurches between eerily familiar and downright parody. Newton's portrayal as Rice is particularly jarring and quite bizarre. Sometimes the movie feels like an ambitious idea that just misses the mark and other times it seems like the rush job it is.

Interestingly enough, Brolin is able to pull a tremendous performance out of this exercise in wacky (and glib) history-telling. His interpretation of the character is a straightforward portrayal that never turns into a joke, despite the well-known (and often mocked) mannerisms of the president. It would be a performance to gush over under any circumstances, but the fact that he shines while playing a guy that comedians have had a field day impersonating for eight years is quite the accomplishment. I have a renewed respect for Brolin's talent, that's for sure.

Actors like Brolin, Elizabeth Banks (as Laura Bush) and Dreyfuss give this movie some life and I found it bizarrely riveting to watch the strange way these events are captured in the film. However, none of this makes up for the fact that it all feels slap-dashed and unfinished. Because Stone has everything and nothing to say about George W. Bush, the effect is just a surreal slog through a sad piece of our nation's history, the timing of which makes it not just a so-so movie, but a kick in the gut while the nation's already down.

Photos courtesy of Lionsgate