A Biopic Glossed in Myth, Light on Substance
John Logan’s screenplay for Michael lands in the high-stakes world of musical biopics with the weight of an extraordinary legacy, but it quickly becomes apparent that director Antoine Fuqua’s exploration of Michael Jackson remains disappointingly superficial.
Rather than interrogating the complexities of the man behind the mask, the narrative opts for a polished overview, leaving the audience with little more than a beautifully curated montage and a host of unanswered questions.
The film’s 127-minute runtime is notably tight, achieved by leaping from one milestone to the next with barely a pause for reflection. This approach results in a brisk, almost compressed chronology that summarises Michael Jackson’s rise from the disciplined roots of the Jackson 5 to global superstardom.
However, the relentless pace sacrifices meaningful introspection: instead of delving into pivotal moments, the script checks off historical events, leaving little room for the audience to absorb or reflect on the personal significance behind each achievement.
The strongest aspect of the film emerges in its depiction of the intense father-son dynamic, particularly the dominating shadow of Joe Jackson. Scenes that interrogate Joe’s punishing influence provide the most compelling drama, anchoring the narrative with a sense of grace and tension.
Yet, once Michael breaks free from his father’s control, the film loses its interrogative edge, falling into a repetitive cycle of accomplishments.
Crucially, Logan’s screenplay and ultimately Antoine Fuqua’s film, avoids grappling with Michael’s profound internal struggles-his anxieties, traumas, lack of intimacy, burgeoning drug dependency, and crumbling self-esteem are only fleetingly referenced, never examined.
The result is a flat characterisation that reduces Michael to an icon, rather than revealing him as a multidimensional creator with agency.
Visually, Michael excels at recreating the ‘highlife’: shimmering jackets, electric stage presence, and iconic performances are rendered with masterful polish.
The production values are undeniably impressive, offering the audience a front-row seat to the spectacle. However, this glossy aesthetic further emphasises the film’s reluctance to interrogate the darker, more complex corners of Jackson’s psyche. The storytelling relies heavily on explosive performances and a shimmering public image, prioritising spectacle over genuine psychological exploration.
Michael delivers a visually stunning overview of an accepted mythology, but it remains a portrait firmly behind glass-professionally crafted, yet lacking the interrogative depth needed to make sense of one of modern history’s most complex figures.
By glossing over the vital parts of Michael’s humanity and failing to pause for genuine reflection, the film offers a celebratory look at the icon while leaving the audience with more questions than answers.
As the timeline concludes in 1988, I am left wanting more, feeling as though I have witnessed a curated montage rather than a lived experience.
Showing in cinemas from Wednesday, 22 April.
-Dirk Lombard Fourie