Get on Up: A História de James Brown

James Brown, a musical legend whose funk and soul spread from city to city over decades. With movies looking for anything to make a story about, these days, it was only a matter of time before the Godfather of Soul was chosen. Yet despite his musical influence, could the directors make a film that would do justice to him, or like other tributes fall short and are nothing more than a bore. Going in for my third movie this weekend, I'm here to share my thoughts about Get On Up, titled after one of my favorite songs.

After seeing Four Seasons, I worried that this movie would be another drawn out drama with only tidbits of music here and there. Yet the directing team decided to actually bring the music to the front and give the audience the music they knew and loved. Get On Up plays a plethora of songs from toe tapping Get On Up to the soulful Please, each timed in the story to mimic the emotions at hand. While some of the songs are only segments, the movie gives you enough of a show to satisfy the funk within you. The numbers are well designed, with Chadwick Boseman bringing some impressively choreographed moves, including the famous split that will have guys cringing. One feels like they are in a constant, at home with the crowd as the cameras circle around the bandstand. What's also nice is that the songs are spread throughout the movie, and one doesn't have to wait to long before another song is blasting through the speakers. However, this also leads to a little problem, as so many songs leads to a messy story that is fractured, sporadic, and sometimes confusing to follow.

This leads me to the next part, the story. Like many movies about musical icons the story is predictable mess, again showing traumatic backstories and showing their rise to fame. However, Get On Up diverges from the typical linear presentation and decides to jump around Brown's life. In the beginning, it is confusing to follow, because the order doesn't make sense, nor is it easy to find the relevancy at the time. As the movie continues, you get an idea of what the director is trying to do, using the scenes as an illustration of his thoughts at the time, the primal drive to his actions. It's cool, but again confusing as you try to pick up what is going on at the times. Some of the flashbacks are also awkwardly timed and sometimes seem to are left untied as the movie continues. At times I asked, "What was the point of that scene?" only to get an answer an hour down the line. It's diverse yes, but the approach needs to be ironed out a little more for this reviewer to get the most out of it. Unfortunately, this movie's plot is still similar to all band stories, in the fact that there is an inevitable rise and fall that we will see them go through.

Despite the order of the scenes though, Get On Up has some impressive production behind the movie. As I already mentioned, the music scenes are the most entertaining of the bunch, but the drama surrounding it is well designed. Plenty of my fellow audience members commented on how well they captured the decade, designing the various cast in the costumes of the era. Backstage hassles, luxurious hotels, and studios were all crafted into smoke filled wonders, and you feel drawn in to Brown's life. What was also nice to see was the lack of using a grey filter, a very popular filter at the moment, to make the already dismal world even more depressing. Instead, the world is colorful and vibrant, much like the music.

Finally the acting. Boseman steals the show, managing to bring a lot of energy and fun into the enigmatic Brown. His raspy voice sounds much like the voice in the singing, though it is not an exact match, I think he did nice on the vocals and delivery. He is funny, and seems to be a natural at playing the self-involved performer, because he didn't seem to try too hard. Boseman captures the emotional spectrum of Brown brilliantly in this movie and next to the music, is the biggest highlight of the film. To counter the selfishness of Brown is his friend Bobby Byrd played by Nelsan Ellis who also does a great job. Although his character takes a backseat through most of the film, and only speaks at key points, Ellis does a lot with his limited lines. And just like Boseman, Ellis can bust a move, though his pipes are drowned out in the numbers. As for the rest of the cast, the iconic Dan Aykroyd plays the same arrogant business man he always does, though with a bit of a softer side when it comes to James. Viola Davis brings the same passion to her role, though like Ellis is limited to the amount of time on screen. Octavia Spencer brings her sass back to scene and has some guiding insight, but does take a back seat to Boseman as well.

Overall Get On Up is a visit to the past of powerful music. Fans will travel back in time with Brown's hits, and the beat will have you tapping your toes. Yet the predictable drama, the dark and depressing mood, and the unique presentation had me feeling the movie lasted a little too long, especially at the slow parts. Recommended audience members are big James Brown fans, or those looking to take older audience members to a movie. Otherwise, skip this film and wait for it to come to your home entertainment set up. My scores for this flick are:

Biography/Drama/Music: 7.5 Movie Overall: 6

The movie starts by jumping around James Brown (Chadwick Boseman)'s life. As a boy, his mother ran off and his father is abusive. He's also a handful. He gets imprisoned for stealing a suit. Bobby Byrd (Nelsan Ellis) meets him while performing a gospel in prison. Bobby helps him get out of prison. They become The Famous Flames after jumping up on stage while Little Richard is on break.

Much of the praise centers on Chadwick Boseman's performance. He does a nice performance in all aspects of the character. It's not exactly perfect mimicry. It's more about the spirit of the performance. There is a power about James Brown that isn't exactly at the same level. The plot is basic modern biopic structure. James Brown is simply a womanizing driven pre-destine persona that is build by the troubles in his life. I would have liked a more complex character with more imaginative originality. The best drama centers around the relationship between James Brown and Bobby Byrd. Of course, there is the great music. That is a given for a James Brown biopic.

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.

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.

'GET ON UP': Three and a Half Stars (Out of Five)

Musical biopic about the life of James Brown. The film stars Chadwick Boseman as Brown (he also played Jackie Robinson, in the 2013 baseball drama flick '42') and it also costars Nelsan Ellis, Dan Aykroyd, Viola Davis, Octavia Spencer, Jill Scott and Craig Robinson. It was written by Steven Baigelman and Jez and John-Henry Butterworth and directed by Tate Taylor (who also wrote and directed 'THE HELP'; which also costarred Davis, Spencer and Ellis). The movie was also co-produced by another legendary musician; Mick Jagger (who's played by Nick Eversman, briefly, in the film). I think it's a well-intentioned movie, and really well acted, but it's also not without it's flaws (some pretty noticeable ones).

The film begins, and ends, in 1993; at a show James Brown (Boseman) performed at, in front of a very large and sold-out crowd (of course). It cuts to several flashbacks, exploring Brown's life; from his poor childhood through his rise to music superstardom (and beyond). The story focuses on his relationships with his best friend, and musical partner, Bobby Byrd (Nelsan), his manager Ben Bart (Aykroyd) and his family. It shows examples of his inspirational highs, as well as his abusive, and self-absorbed, lows. It also features multiple, energetic, musical numbers throughout; Boseman did all of his own dancing and some of his own singing.

The movie features some pretty impressive performances (especially by Boseman, who's Oscar worthy in it) and it's also decently directed. It's informative (for the uneducated, at least) and inspirational, at times, as well. The film's one main flaw though, is that it tries to cram too much story into one movie; like almost all biopics do. A lot of the characters, and important elements of the film, seem underdeveloped; as a result. The movie does have a lot of great moments though; especially if you're a fan of James Brown, or music in general.

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