COMING SOON: YOUNG JIMMY SAVILE, THE TOP OF THE POPS YEARS! The Michael Jackson biopic ignores half his life.
If you’re planning on making a biopic of a major musical figure, you would be advised not to miss out various rather vital aspects of their life. For instance, Bohemian Rhapsody dealt – if at times obliquely – with Freddie Mercury’s homosexuality and AIDS. The recent Bruce Springsteen film Springsteen: Deliver Me From Nowhere attempted to tackle his mental health difficulties and near-breakdown.
Neither film was perfect, but they were at least made with reasonably good intentions. That is rather more than can be said for Antoine Fuqua’s Michael Jackson biopic Michael, which opens in US cinemas this week and has been greeted with disbelief.
The main objection is that the film refuses to acknowledge that Jackson was a deeply troubled man, who is widely believed to have engaged in acts of child molestation. While he was acquitted after a trial in 2003, the various financial settlements that Jackson paid out to accusers – all the while publicly denying any wrongdoing – suggests a man with a guilty conscience and deeply suspect behavior that he was desperate to hide.
Any halfway honest and representative biopic would have this as a vital part of the story, but Fuqua’s film simply ignores it altogether. According to advance reviews of the picture, Jackson – as played by his nephew Jaafar – was a near-Christlike figure. He suffered at the hands of his brutal father Joe, but went on to become the King of Pop. First alongside his brothers in the Jackson Five and then as the biggest solo star of his time.
More details here: Michael review — risible biopic turns Jacko into a 20th-century Jesus.
The film stops in 1988, which is handy as it avoids all that unfortunate child sex abuse material. Yet anyone who has seen Leaving Neverland will feel the tension between the allegations about abuse in the documentary (specifically relating to Peter Pan memorabilia) and the biopic’s creepy validation of Jackson’s “adorable” obsession with vulnerable lost boys and cute-for-ever kids.
The music scenes nonetheless are quite brilliant and thrilling — Jaafar is an accomplished impressionist. Jackson was a once-in-a-generation genius and his musical legacy is quite safe — his sales spiked by 10 per cent during the Leaving Neverland controversy. In the end he probably deserved more, for better and worse, than this.
So no cameos from Triumph the Comic Insult Dog, I take it: