Cadillac Records

"Cadillac Records" is a fun, fast, flashy introduction to the world of Chess Records. In the 1950s, Leonard Chess, a Polish-born Jew in Chicago, along with his brother Phil (not seen in this film) produced "race" records by African American blues and rock and roll legends like Muddy Waters, Howlin' Wolf, Chuck Berry and Etta James.

These artists' work had huge impact on popular music; the Rolling Stones are shown on a pilgrimage to Chess Studio. Their music is great and is played all but non-stop on the soundtrack, which is a very good thing. Flashy glimpses into the glamorous styles of the 1950s and 60s include loving looks at the many Cadillacs Chess gives as gifts to his star performers.

Jeffrey Wright is quietly compelling as Muddy Waters. Mos Def is a charming Chuck Berry; he really communicates the charisma that Berry exuded to his adoring female fans. Eamonn Walker is terrific, and appropriately intimidating, as Howlin' Wolf. Walker electrifies the screen with his every morsel of screen time; I wish that after they'd finished "Cadillac Records," they had just kept the sets up and kept the cameras running and began a biography of Howlin' Wolf with Walker in the lead. Beyonce Knowles is very beautiful and pays worthy tribute to Etta James, the singer she plays.

"Cadillac Records" feels a bit rushed, and not as deep and probing as it could have been. Perhaps much backstory was cut out? A shame, because Adrien Brody, a brilliant and compelling actor, is not given enough to do.

So much more could and should have been said about Chess the man and his motivations, and the complex relationship he had with his singers. There is the story that Chess put Muddy Waters to work painting his ceiling. Some accused him of paternalism; curious viewers are advised to pick up Nadine Cohodas' book "Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records." Also, "Cadillac Records" can't avoid the clichés inherent in music biopics: the innocent character is introduced to drugs for the first time, and is ruined by them; the self destructiveness of brilliant people, the exhilarating, brutal, rags-to-riches-to-obscurity trajectory of show biz careers. For all that, "Cadillac Records" is fun and it makes you want to learn more about an important cultural moment in American history.

While this film lacks an original framework (it's "Ray" and "La Bamba" and "Hot Wax" and "Why Do Fools Fall in Love"....), both the subject--a seminal recording label--and the performances make this electrifying entertainment.

I can't speak to the accuracy of its historical facts regarding Leonard Chess' exploitation of some of music's largest figures, but the screenplay zooms along and takes us with it. Jeffrey Wright finally gets a role that hopefully will secure his stature. It's overdue. As Muddy Waters his towering strength both as a character and an actor are very impressive here. As well, the entire supporting cast (and it's a large cast) really rise to the occasion. Columbus Short as Little Walter and Gabrielle Union as Water's wife are equally impressive. And in smaller roles, Eamonn Walker as Howlin' Wolf and Mos Def as Chuck Berry nearly steal the show.

I've never been much of a fan of Adrien Brody, but in the first half of the film, he's quite effective. It's only when Beyoncé Knowles arrives that he stumbles, and who can blame him. Ms. Knowles takes a sensational role and scorches the screen. As the conflicted and troubled Etta James, there's a scene on a livingroom floor in front of a fireplace that should win Ms. Knowles many awards. And we're given a generous helping of sensational James' track very well covered by Ms. Knowles.

When we watch America's taste in music change--both before and after the centerpiece of this story--we're at first exhilarated at the discovery of this "new" form of music, and when it wanes and the lives that were propelled to stardom flag, we feel an enormous sadness. But what we know today--that these individuals became legends--is of great consolation.

I don't care that the structure is straightforward. The recreation of the period and it's attitudes are spot on, and the cinematography by Anastas N. Michos make the film rise above any weakness in the script.

Then, there's the soundtrack....

Wow, I've never seen a biopic take such liberties with facts... to the point that the film even invents a murder that never happened. But in all fairness, so did "Amadeus".

The point of the film, however, is not to present facts but to foster interest. That much is said in the director's commentary: she says that if people become interested to learn more about these (and other) classic artists, then the film has done its job.

Then by all means, it succeeded. The names of Muddy Waters, Etta James, Little Walter & Howlin Wolf have always been a footnote to the general public (including myself). But now I'll definitely take notice.

If you're already a blues aficianado, then I doubt you'll care much for this film. But if you're part of the target audience--those who are not familiar with the origin of rock'n'roll or who think erroneously (as I did) that Elvis was the one who started it all--then this movie is worth a watch.

I'll give you one warning. It gets ugly. This is NOT a film to be showcased during Black History Month! It portrays many of these artists at their worst: drug-addicted, alcoholic, violent, sex-crazed, uneducated, selfish and perpetually angry. The film has a very cynical, malicious vibe. But I think this was done with a specific intent; the director seemed to be making a strong metaphor to today's gangsta rap, probably with the hopes of reaching a young generation that never appreciated blues & rock'n'roll. I thought that was an interesting angle, though it must offend many blues purists.

So there you have it... Don't expect facts. Don't expect history. Don't expect many feel-good moments. Instead expect a very stylish drama about the Chicago 'hood with a lot of sex, drugs & rock'n'roll. I know it sounds like I'm disparaging the movie, but I'm not. I really thought it was an interesting presentation.

The trouble with these kind of movies is that they will never satisfy the purists among us. OK so maybe it glosses over the facts and makes the history all shiny and Hollywood, but I will see how many people will come away from this movie WANTING to find out more about the history of blues.

So what if its not perfect, if you want a perfect history you will go and buy a documentary on the subject. I want to be entertained when I watch a movie not sit there and critique history.

I think all the performances in the movie are convincing and great. I especially loved Beyonce, she just seems to ooze talent, although the on-screen time is shorter compared to Dreamgirls, she is extremely commanding.

As for the covering Etta's song, these are outstanding. I am in love with the songs all over again, and in love with these versions.

Anyone remember those old K-Tel compilation albums with the hits slightly sped up so the K-Tel folks could pack in more songs? CADILLAC RECORDS (CR) gives a similar treatment to the story of Chess Records, nicknamed "Cadillac Records" because the Polish-American Chess brothers, Leonard and Phil (Adrien Brody and Norman Reedus, reunited from the film SIX WAYS TO Sunday), would give the artists Caddies as rewards -- out of the artists' own royalties! Chess Records got the music of Muddy Waters, Etta James, Chuck Berry, and other seminal R&B performers out to the general public, climbing the charts as what were then called "race records." Perhaps because of time and/or money constraints, writer/director Darnell Martin seems to rush through the Chess stars' highs (sometimes literally, with scenes of drug and/or alcohol abuse) and lows, forcing her to condense her subjects' dramatic life stories to the point where they don't even seem to age (other than a few perfunctory silver streaks visible in Brody's hair late in the film) despite the indication that years have passed. Even the Chess brothers' own story is only half-told, with the focus being on Leonard as Phil is rendered all but invisible. Heck, for half the film, I thought Phil was just another sound engineer, since we in the audience only ever see him during recording sessions! That said, I still found a lot to like about CR. I was riveted and moved by the events and the performances, and the musical numbers kick butt; I want the soundtrack (maybe even the original versions of the songs :-))! Jeffrey Wright commands the screen as Muddy Waters, who becomes Chess Records' first star, complete with groupies. He comes home one night to find wife Geneva (sympathetically played by Gabrielle Union) with a baby in her arms -- left there by a fan who says Muddy's the father. Mos Def adds sly humor as Chuck Berry. Eamonn Walker is downright scary as Muddy's rival, Howlin' Wolf. Columbus Short breaks your heart and drives you crazy all at once as Little Walter, whose lack of a mother or self-discipline proves to be his tragic flaw. Beyoncé Knowles shows she has range as both an actress and a singer in her fiery, heartrending portrayal of the talented but troubled Etta James. Leonard tries to help Etta to learn to "sing the blues, not live it," but with Etta's emotional baggage, that's easier said than done. Things only get more complicated when she and Leonard become attracted to each other despite his having a sweet, pretty wife, Revetta (Emmanuelle Chriqui). I'm not surprised that in real life, Etta herself gave her blessing to Beyoncé's soulful rendition of "At Last," the ultimate make-out song and Presidential inauguration anthem! :-) Although Leonard Chess is almost more like a host here than a well-drawn character, Brody nevertheless works well with the cast and has great chemistry with Beyoncé. In fact, he gets a good amount of on screen love action, including a nude scene with the fetching Chriqui! :-)