Dancing around controversy, the empathetic ‘Michael’ bows out before getting dark

by

It’s widely accepted that Michael Jackson was a hugely influential pop artist, arguably one of the best of the 20th century. While everyone has their own preferences, the massive success of albums like “Thriller” is undeniable. However, it’s also been alleged that he sexually abused children. These two realities – his artistry and the accusations against him – are difficult to reconcile. It’s painful, and we can feel sympathy for both the victims and those who cherish his music. Finding a way to make peace with this complicated legacy feels impossible, and I’m open to any ideas on how to begin.

After acknowledging the difficult subject matter surrounding Michael Jackson, we can discuss Antoine Fuqua’s biopic, “Michael,” which focuses on his life from childhood in Gary, Indiana, through the “Bad” tour of the late 1980s. This limited timeframe is deliberate, as it avoids addressing the abuse allegations that surfaced after that period. By ending the film in 1988, it highlights the positive aspects of Jackson’s life – his incredible talent, the family’s rise to fame, his impact on breaking racial barriers on MTV, and the brief moment he seemed to bring the world together – without falsely portraying him as a flawless hero. However, the film completely avoids mentioning the accusations against him.

As a longtime Michael Jackson fan, I found the new biopic fascinating, mostly because it’s told through the eyes of people who actually knew him. It really digs into how Michael broke free from his incredibly controlling father, Joe. What struck me was that six members of the Jackson family are producers, and you can feel they’re still trying to understand how someone so unbelievably talented, yet clearly troubled, came to be. It’s a bit odd, though, that Janet Jackson isn’t even mentioned – not a glimpse of her anywhere! And honestly, with Michael’s nephew, Jaafar Jackson, playing him, and so much family involvement – both personally and likely financially – it raises a lot of questions about objectivity. It’s a tricky situation, to say the least.

Right now, prioritizing family connections might be the best way to find an actor who can truly capture the unique personality of Michael Jackson. If Jaafar, who knew his uncle personally, didn’t deliver a line exactly right, someone from his family would likely point it out. This personal connection allowed Jaafar to portray Jackson from the inside out, rather than just imitating him.

Music

Michael Jackson is stricken on the eve of a comeback tour.

Jaafar embodies Michael Jackson’s iconic look – his bright eyes, famous smile, and even his moonwalk. However, to accurately portray Michael, Jaafar had to embrace the often-exaggerated and somewhat unnatural appearance Michael himself had. Throughout the project, makeup artist Bill Corso didn’t just subtly alter Jaafar’s features; he progressively increased the amount of eye shadow and liner to highlight just how much makeup Michael commonly wore, even at home – a habit mirrored by his sister, La Toya (played by Jessica Sula), who also slightly altered her nose in a nod to her brother.

Even among the most successful pop stars, Michael Jackson stands apart from artists like Taylor Swift and Bruce Springsteen, who connect with fans by sharing their own personal feelings. Jackson, however, remained an enigma. In his 1988 autobiography, “Moonwalk,” he revealed he barely remembered a life outside of performing, suggesting a talent perhaps comparable to Mozart. But unlike the story of Mozart and Salieri, there’s no relatable figure to help us understand Jackson – only glimpses of his world through his family and bodyguard, KeiLyn Durrel Jones, who portrays a quietly watchful presence. Jones’ expressions are particularly striking when Jackson attempts to broker peace between the Bloods and Crips, believing his music could unite them.

I’m hoping for a Michael Jackson biopic that really pushes boundaries, similar to films like “Better Man” and “Get On Up,” which captured the spirit of their subjects through imaginative choices – like casting Robbie Williams as an ape or showing a young James Brown inspired by his future music. Jackson’s music videos, which he considered “short films,” also hinted at this kind of creativity. It’s fascinating to see him here on the set of “Thriller,” demanding that director John Landis reveal the full, terrifying transformation.

Fuqua’s direction is remarkably understated; none of the technical elements – the visuals, music, or editing – draw focus away from the lead actor. I understand the challenge he faced. He’s clearly a more skilled director than this film suggests, but he made a smart decision to pair a strange character with a simple, straightforward style. He deliberately toned down his own artistic flair to make the character’s unusual behavior – like taking a llama for a walk at night – seem believable.

Even a realistic, documentary-style take on the film wouldn’t be able to hide the inherent silliness of introducing Bubbles the chimp. Director Fuqua lets the audience enjoy a laugh, but also suggests a deeper meaning: that Jackson chose the monkey as a protector, mirroring his own childhood need for defense against his father’s outbursts – a small ‘King Kong’ against a powerful ‘Godzilla’.

Movies

For Subscribers

The 27 best movie theaters in Los Angeles

We’ve created a guide to 27 fantastic movie theaters in Los Angeles, including iconic spots like the TCL Chinese and New Beverly, popular chains like Alamo Drafthouse, and the best AMC location in Burbank.

Michael generally keeps to himself, which is a good thing. It’s frustrating when movies oversimplify a person’s life and present everything as a neat discovery. Thankfully, this script mostly shows us what it wants to convey, rather than explaining it. For example, the repeated images of Pinocchio – in different forms like a book, a toy, and on television – effectively demonstrate Michael’s difficulty with growing up and breaking free from his father’s control. Similarly, his increasingly elaborate military-style jackets visually represent his need to feel more in charge of his own life.

It’s fascinating how the film jumps between adult Michael being put in charge of the massive Victory tour after Thriller, and then shows him completely absorbed watching Charlie Chaplin in Modern Times. It really highlights the contrast between his present and his idol. But what really struck me were the little details showing how the tour affected his siblings – like how the spotlight always found him, or even something as simple as Tito choosing a hat with his name emblazoned on it. It makes you think, can you imagine being incredibly talented, knowing you’d shine in any other group, but always being in the shadow of your brother?

The film doesn’t portray Joe Jackson in a positive light. Actor Domingo convincingly plays him as both a manipulative figure and surprisingly astute businessman – a chilling combination of predator and controlling parent. He conveys a lot with just a look; for example, he shows clear disapproval when audience members throw money at his sons during a performance, as if they were street performers. It’s disturbing to see how often his harsh criticisms are actually correct, even though he resorts to physical abuse to push his children. Despite achieving material success – an extravagant house and flashy jewelry – Joe still comes across as unsophisticated and lacking substance by the film’s end. Notably, the ending credits honor Tito Jackson, who passed away in 2024, but make no mention of Joe.

Young Michael, played with heartfelt sensitivity by Juliano Valdi, powerfully conveys the isolation of a boy navigating the intense pressures of the Motown recording studio. He clearly gets his kindness from his mother, Katherine (Nia Long), but his father instilled in him a demanding drive for perfection. A particularly moving moment is when he rushes to hug Berry Gordy (Larenz Tate), desperately seeking affection. Later, when explaining his lack of friends to his mother, Valdi subtly imitates the mannerisms of the adult men around him – a small, but incredibly poignant detail.

Despite trying to avoid certain topics, I think the film accurately portrays the real Michael Jackson and is worth seeing. However, it’s the music that truly captivates us, starting with the energetic opening song, “Wanna Be Startin’ Somethin’,” and culminating in a familiar collection of his greatest hits just as the film hints at the difficult times to come. The film subtly foreshadows the tragedies ahead, showing the loneliness that consumed him, the unsettling concern on his bodyguard’s face during repeated hospital visits, and the ominous suggestion of the painkillers that would eventually lead to his death at age 50.

I was surprised when the movie ended with the message, “His story continues.” It wasn’t clear if this was just a way to avoid finishing the story, or if they’re planning a sequel. Even if it wasn’t good, I’d probably still go see it if they made another one.

Read More

2026-04-23 00:03