Tag Archives: Chadwick Boseman

2020 Films, Chadwick Boseman, Colman Domingo, Denzel Washington, Drama, George C. Wolfe, Glynn Turman, Independent, Independent Drama, Michael Potts, Taylour Paige, Viola Davis

Ma Rainey’s Black Bottom-2020

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Ma Rainey’s Black Bottom-2020

Director George C. Wolfe

Starring Viola Davis, Chadwick Boseman

Scott’s Review #1,107

Reviewed February 3, 2021

Grade: A-

Viola Davis and the late Chadwick Boseman lead tremendous performances in Ma Rainey’s Black Bottom (2020), a film fueled by exceptional acting.

The production is shot like a play and is based on one written by August Wilson. He also wrote Fences, which was adapted into a film in 2017 and starred the terrific Davis.

As wonderful as Davis is amid a bruhaha of hype over how powerful her performance is, it’s an ensemble event that makes Ma Rainey’s Black Bottom a memorable experience.

Ruben Santiago-Hudson adapts a fast-paced screenplay with quick dialogue, extended scenes, and a startling turn of events. The action unfolds over one day, similar to other Wilson works, adding a robust and powerful strength as the situations unfold.

The time and the racial aspects are key to the crackling dialogue.

Most of the cast is black, and it’s 1927, so how can the work not be about race? In clever and heartbreaking form, much of the racism is internalized, pitting black versus black instead of the standard white versus black.

Despite the excellent singing and acting, this point hit home the most with me and was the most uniquely palpable. It’s bad enough when black people, or any other minority group, face hatred and resentment from other people, but when it’s one of your own, this is bitter and hard to watch.

The conflict and fury escalate to a vicious climax as one character lashes out in deadly form, ruining more than just their own life. It has a spiraling effect that utilizes the claustrophobic rehearsal hall where these scenes take place as a backdrop.

There are two different stories taking place here, and both are superb.

Ma Rainey (Davis) is a superstar, being female and black, her victory is achieving that success, to begin with, against insurmountable odds.

We only imagine this because the film doesn’t go into her backstory too much- they don’t need to. Her struggle is obvious, and we can only imagine how she managed to get so far in her career. Was she able to capitalize on her success with her voice alone?

Ma is immensely talented and angry. She is pouty and tough as nails with her white producers, who have invited her to Chicago to record an album. She knows they want one thing from her, and that’s money-making profits from her talent.

She demands a Coke before she will perform. She smirks as the producers scurry to fulfill her request, not daring to show too much irritation that will cause her to cancel the session and return to the South.

Is she a diva? Well, yes, but shouldn’t she be? If she were a gracious person, would people walk all over her?

We learn she would easily be arrested for causing a stir in the streets if not for her manager, Irvin (Jeremy Shamos), schooling the police on who she is.

Davis, who can play any role handed to her, is brilliant. Ma is brazen and brutal, yet she releases emotion when she belts out her tunes.

Though Davis is the star, Ma is almost a supporting player against the robust and juicy other plot occurring among the male cast, one floor below. Boseman is flawless as the trumpeter in her band, Levee Green.

His humor masks a wave of anger and cynicism lurking beneath that slowly builds as he feels jealous and cheated by the older members of Ma’s band.

Colman Domingo and Glynn Turmann are fantastic, adding stability and wisdom in supporting roles. Their characters try to teach the younger Levee that being a black man also represents stoicism, a calm demeanor, and wisdom.

From a diversity and inclusion perspective, the film features Ma’s bisexual girlfriend Dussie Mae (Taylour Paige) and nephew Sylvester (Dusan Brown), who stutters.

This offers LGBTQ+ and disability inclusion.

Ma Rainey’s Black Bottom (2020) is a film that celebrates fearlessness, determination, and the ugliness and frustration of inner turmoil within one’s race.

It also features gorgeous and emotional songs from the roaring 1920s and top-notch acting performances.

Oscar Nominations: 2 wins-Best Actor, Chadwick Boseman, Best Actress, Viola Davis, Best Production Design, Best Costume Design (won), Best Makeup and Hairstyling (won)

Independent Spirit Award Nominations: Best Feature, Best Female Lead-Viola Davis, Best Male Lead-Chadwick Boseman, Best Supporting Male-Colman Domingo, Glynn Turmann

2018 Films, Adventure, Alex R. Hibbert, Alexis Louder, Andy Serkis, Angela Bassett, Chadwick Boseman, Danai Gurira, Daniel Kaluuya, Forest Whitaker, Isaach de Bankolé, Lupita Nyong'o, Martin Freeman, Michael B. Jordan, Ryan Coogler, Sebastian Stan, Sterling K. Brown, Super Hero, Winston Duke

Black Panther-2018

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Black Panther-2018

Director Ryan Coogler

Starring Chadwick Boseman, Michael B. Jordan

Scott’s Review #805

Reviewed August 23, 2018

Grade: B+

For the record, I am not a huge superhero fan nor an obsessive follower of the popular Marvel comic series. I see a handful of superhero films but hardly any of this particular genre, usually those (if any) receiving year-end recognition.

Having heard many positives regarding Black Panther (2018), I was looking forward to something creative and left of center from the typical genre film.

While the film has some standard superhero elements, the fact that most of the characters are ethnic is an enormous plus and worth the price of admission alone.

Admittedly, Black Panther plays out like a superhero film is “supposed” to play out: fight scenes, machismo, action, and villains, with the standard good versus evil storyline thrown in.

This is all good and will undoubtedly please the traditional Marvel comic book fan. However, the nuances that the screenwriters and director, Ryan Coogler, sneak into the film set it above a mediocre rating.

The fact that nearly all of the principal characters are black is tremendous, and the female black characters are portrayed as strong.

Furthermore, the visual treats of Africa and Korea, and multi-cultural clothing and colors are noteworthy. While I wish the actual story had steered further away from the tried-and-true, I was left happy with the other qualities.

The film begins with a quick story of how one African nation, Wakanda, came to be and proudly brought into existence the first “Black Panther” with superpowers obtained from a special plant.

As the action moves to Oakland, California, circa 1992, we learn that the King of Wakanda is visiting his brother, who works undercover.

Following the King’s death, his son T’Challa (Chadwick Boseman) takes over the throne but is soon challenged by his cousin, N’Jadaka (Michael B. Jordan), who deems himself the rightful heir.

Another subplot involves a black-market arms leader named Ulysses Klaue, who leads T’Challa, along with Nakia (Lupita Nyong’o) and Okoye (Danai Gurira), to South Korea and back to Wakanda.

Black Panther feels ambitious, like seeing something worth seeing, something inventive and cool. The film is stylized, and Coogler’s direction is spectacular, with bright, colorful visual treats, especially as he features lavish African locales.

Admittedly, in a mainstream comic book film laden with CGI effects, it is tough to know what is real or not, but as a viewer, these aspects were a treat and pleasing to the eyes.

The plot of the film itself feels admittedly mediocre, tough to follow, and a “been there, done that” evaluation. By the same token, the story seems predictable, and is it any wonder that T’Challa will reclaim the throne as King of Wakanda?

It does not matter too much after the inevitable clashes with warrior-type men who want the throne and/or feel that they are the rightful heir to it.

This is not to say the film is not good—it is, but the plot is not the highlight of Black Panther; it feels fairly standard.

The male-female roles are a fascinating study and progressive-minded. Granted, the male characters (T’Challa, N’Jadaka, and M’Baku) are all testosterone-laden and fierce with machismo.

However, despite being manly men, they also contain some sensitivity, and the characters have a unique family element.

On the other hand, the female characters are powerful and empowering- a dynamic approach for a superhero film sure to be seen by millions. One female character is even an Army General! So the portrayal of women as strong warriors rather than merely secondary or arm candy is impressive.

The comic book or superhero genre is notoriously filled with gender stereotypes and specific, often generic aspects. It is nice to see this work break down some of these barriers.

Between the recent Wonder Woman (2017) and Black Panther (2018), women and the black community have been represented positively.

Here’s to hoping that the LGBT community may be next.

Oscar Nominations: 3 wins- Best Picture, Best Original Score (won), Best Original Song-“All the Stars”, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Costume Design (won)