James Brown: El rey del soul

Chadwick Boseman is James Brown as he recreates his evolution as a performer in exhaustive dimension and magnitude. The raw and charismatic excitement of Brown's presence are all here. This shows dedication and natural ability as Boseman reminds us of a heritage that music cannot deny and a story that needs to be told again and again as Brown's influence continues to mesmerize us when we hear him. The entire cast were soulful and talented. Viola Davis was very moving as Brown's mother who had abandoned him as a young child and we sense the deep sorrow and loss that Brown must have endured and helps us understand his determination and inner fire as he himself catches hold of his spiritual connection to source and allows his musical genius to take hold of him and us. The words and messages in the songs that Brown wrote may at times seem simplistic but true as he sings them with such knowing, a man who has experienced life in all its dimensions.

While it is in no way a perfect film, GET ON UP succeeds largely due to Chadwick Boseman's transcendent performance as the "hardest working man in show business," James Brown. Among the positive elements (Chadwick Boseman aside), I liked the non-linear approach to the story which differentiated it from a lot of the other biopics that I've seen. I thought it was fairly creative to have the story jump around in a way that suggests a stream-of-consciousness approach to recounting one's life. Each significant event triggers other memories, and despite how disorienting it is at first, by the end I was totally used to it.

There were also some other interesting choices made, like having the young actor portraying James Brown as a child replace Chadwick Boseman in a pivotal moment late in the film for a couple of shots. And of course, Chadwick Boseman completely immersed himself in the role, to the point that I often forgot I was watching an actor instead of James Brown himself. Of course, they used James Brown's real voice instead of having Boseman sing, but the way in which he transformed himself and the physicality he brought to the role was just amazing. Another interesting choice was having Boseman break the fourth wall occasionally to narrate parts of his own story and give his perspective on different events.

That being said, not everything was as good as it could have been. Despite Boseman's awesome performance, at times the film felt like more of a greatest hits compilation than a straightforward story, the non-linear aspect aside. It also glossed over some important aspects of the character of James Brown. There was only one scene in which any domestic violence was hinted at, when there was undoubtedly a lot more. I'm not saying that there should have been a lot, but it would have been more honest to address this. I also feel like the relationship with his absentee parents wasn't addressed as fully as it could have been, considering how it affected the man he became. Still, one advantage of the non-linear structure was the placement of a scene with his mother that occurs earlier in his career, but his placed towards the end of the film for emotional impact. A little manipulative? Maybe, but I don't mind being emotionally jerked around by a movie once in a while.

All things considered, the filmmakers did a lot to make this stand out from all of the other biopics out there, even if it does treat its subject with kid gloves and goes on a little longer than I would have liked. Still, Chadwick Boseman's performance alone is enough to recommend this film, and there's so much great music in it that it's hard not to like.

I loved the sheer energy and dedicated portrayal that Chadwick Boseworth was able to channel from the late Great Godfather of Soul. From the groovy tunes, to the steps but, most importantly for me the voice. Hands down he captured Mr. BROWNS vocals eerily similar to the point of feeling as if the man's spirit was in the theater with you. Yes, we see a small snippet of him as a flawed man and father. We look at his poverty stricken past and what it was like to grow up with extreme segregation and racism. I was able to pity him, love him, want him,hate him,worship him and be awed by him in the small allotted time that I was given. Sometimes the story skips between decades and you never get a full scope of this personal life but you do get a revelation of the genius that he was during a time where being black and about your business, taking no prisoners was not highly thought of or widely accepted.

I feel like there really was an interesting film somewhere in here, somewhere buried deep inside here though. The performances here are solid, if not a little too over-the-top that venture on caricatures from the supporting roles. The lead performance, though, really is fantastic, and it's such a shame that the film drags him down so much. The editing here is pretty atrocious, although much of it could be attributed to the screenplay's problems and wanting to go through his whole life in little segments that really feel way too erratic. The set deigns are good as is the music segments, but James deserved a much better film, and the lead as well.

Two viewings in three days, to fully appreciate the magnificent achievement that's on screen. Not one extraneous word, scene, shot or sequence. The whole is as tight as James Brown's hits - or his pants.

The underlying construction of these snapshots of James Brown's life is flawless. Far from being haphazard or out-of-sequence for mere "effect," this non- linear storytelling technique has rarely been used with greater impact. Thankfully, Tate Tayler, Mick Jagger, the other producers and writers, decided AGAINST the boring born-in-a-shack and then this happened, and next that happened, and finally he died structure.

Result? The film has unexpected rhythms that never let go and build to the astonishing, electrifying re-creation of Brown's Paris concert that - even on second viewing - had me jumping out of my seat, fist-pumping the air and screaming, "YES!"

I wasn't alone.

Chadwick Boseman may be the black male Meryl Streep. His technical achievements alone are remarkable: Brown's moves, speech rhythms and timbre - but mainly his lip-syncing to Brown's vocals: flawless!

Even in the final moments, as the aged Brown silences his band, then begins the haunting "Try Me" a capella - in a closeup so tight you practically see Boseman's tonsils, his mouth, tongue placement, breathing and facial emotions are so perfectly and intensely aligned with Brown's voice you'd swear Boseman were doing his own signing.

But Boseman is equally true portraying Brown at any age, any stage, from any distance. You can't fake that level of acting proficiency. Whether he wins best actor, he is certain to (deservedly) be nominated.

Boseman'surrounded by an equally perfect cast, not one of whom rings false: ultimately a tribute to the director - stunningly supported by the script, cinematography and editing.

By comparison, Clint Eastwood's "Jersey Boys" looks exactly like what it is: a tired, clichéd jukebox Broadway musical with great old safe, whitebread hits (distinguished mainly by Frankie Valli's falsetto) and nothing else to write home about.

James Brown, on the other hand, was always in your face. So were (are) Mick Jagger and the Stones. And so, rightly, is "Get On Up" as a rousing cinematic experience that has to be seen to be believed.