The King of Pop’s Biopic ‘Michael’ Is Far From Regal

(SeaPRwire) –   If one were completely unaware of Michael Jackson’s extraordinary talents as an entertainer or his complicated history, Antoine Fuqua’s straightforward biopic, *Michael*, would likely be a perfectly enjoyable film. It presents a narrative of overcoming obstacles and includes moments where a very young performer discovers his immense abilities. The movie concludes on a positive note, with Jackson, portrayed by his nephew Jaafar Jackson who commendably captures his uncle’s charisma, performing for a large, enthusiastic audience in London in 1988. While these scenes are not factually incorrect, they fall significantly short of offering a comprehensive portrayal, failing to fully convey the essence of Michael Jackson: an entertainer who brought immense joy to others while struggling to find it himself.

The initial segments of *Michael* are its most vibrant and impactful. Set in Gary, Indiana, in 1966, a young Michael, played by Juliano Valdi, watches children playing outside from the window of his family’s modest home. His father, Joseph (Colman Domingo, whose features are obscured by heavy prosthetics), sternly calls him back to join his brothers. The boys, who would become the Jackson 5, are arranged like disciplined soldiers, prepared for a rehearsal orchestrated by their father. Young Michael lacks confidence and performs mechanically, his movements more of a jiggle than a dance. Joseph criticizes him, while their mother, Katherine (Nia Long), observes with sympathy but remains silent. Later, Joseph punishes a minor transgression by striking young Michael with his belt. The pain is evident, and Michael cries. These early scenes are difficult to watch but feel the most unvarnished and authentic.

The remainder of *Michael*, penned by John Logan, predominantly explores the strained father-son relationship, perhaps as a way to divert attention from other significant issues. The Jackson 5 achieve stardom, with Michael, arguably a prodigious soul singer by age 10, serving as the group’s core. The film touches upon his profound loneliness, leading him to acquire exotic pets—a snake, a llama, a giraffe, and a chimpanzee named Bubbles—once the family gains financial stability. He confides in his mother, expressing that these animals are his friends, not merely pets.

Throughout this period, young Michael endeavors to break free from his father’s oppressive control. Upon signing with Motown Records, Michael impresses Berry Gordy (Larenz Tate) with his rendition of Smokey Robinson’s “Who’s Lovin’ You.” The recording, featuring Michael’s voice, conveys a deep sense of heartache, far beyond what one might expect from a 10-year-old. Later, as an adult, he struggles with varying degrees of success to gain autonomy in creating his solo album, *Off the Wall*, and the subsequent blockbuster, *Thriller*. Joseph’s perpetually displeased and angry countenance paradoxically acts as the film’s central focus, dictating the narrative just as he dictated his son’s life.

The film, produced with the endorsement of Jackson’s estate, deliberately avoids addressing the allegations of sexual abuse that later surfaced against the performer. (Reports suggest an earlier ending that did touch upon this was altered for legal reasons.) This topic is also a sensitive area for many devoted Jackson fans, who react with anger to any suggestion that he was a troubled individual who caused trouble for others. However, to ignore Jackson’s complexity is to reduce his genius, his kindness, and his vulnerability to something easily understood and explained. Ultimately, *Michael* falls into this same trap. It seems no one could truly endure the experience of being Michael Jackson, not even Michael Jackson himself. In death, as in life, he deserves better than those who seek to profit from his legacy.