The Michael biopic is finally out, after a long and tormented path, delayed by the screenwriters’ strike in 2023 and several legal disputes over what could be depicted in the movie. So we can finally know if the wait was worth it.

Dealing with the enormous legacy of Michael Jackson was not an easy task to begin with: the King of Pop was a child star who grew into an innovator in every field he touched during his brief life. He changed pop music forever, he mixed genres, he contaminated soul with rap and street style, he created a legendary dance style and moves, and he invented the concept of the music video with masterpieces such as Thriller, Bad, and Dangerous. He was a marketing genius, creating his own myth by gradually disappearing behind his artistic persona (as stated in the Michael biopic, he aspired to be revered as Greta Garbo), to the point of losing himself. At the same time, he had an extra-sensitive, fragile personality, who never knew the meaning of a regular life – and maybe true love. And whose career was stained by horrible accusations.

Legal Constraints and an Avoidance of Controversy

Maybe this is really too much to fit in a two-hour movie. However, the Michael Biopic, directed by Antoine Fuqua (The Equalizer saga, 2014-23, Emancipation, 2022), chose to focus on a very specific part of Jackson’s career: his transition from Jackson 5 wunderkind to solo artist, which launched a legendary career. This choice deprives the movie of any controversy, limiting it to telling the story of the conflict with Michael’s violent father, Joseph, and the artist’s emancipation as he gradually finds his voice.

This was not Fuqua’s first intent. But the movie’s structure had to be thoroughly redesigned when Jackson’s estate discovered a legal agreement from the ’90s preventing the film from depicting a child who had alleged the star sexually abused him at the time. The fact that the movie is produced by Michael’s siblings has certainly contributed to an edulcorated, agiographic reading of the pop star.

However, the result also fails to do justice to Michael’s creative process, inspiration, and impact on the music industry. Besides his legendary producer Quincy Jones, there are almost no other artists depicted, while we know he had established a network of artistic connections with Diana Ross, Paul McCartney, Stevie Wonder, and many others.

Jafaar Jackson as Michael Jackson: A Family-Led Casting Decision

“Only a Jackson can interpret a Jackson,” many said after watching the Michael biopic. Jafaar Jackson, son of Michael’s brother Jermaine, secretly prepared for a year for the role, channeling his uncle’s incredible talent, mannerisms, and even soft speaking voice.

To many of Michael’s fans, watching Jafaar on the screen gave the impression of being in the presence of the real King of Pop. While watching the actor dealing with his abusive father without daring to look him in the eyes is heartbreaking, Jafaar’s interpretation falls a bit flat when he is expected to convey emotions.

If one wanted to learn more about Michael’s personality through this movie, the goal is certainly not achieved: watching one of the many documentaries behind the scenes of his concerts, or even his elusive interviews, offers more answers from that perspective.

As for the rest of the cast, except for the father, Joe Jackson (Colman Domingo) and the little Michael (the phenomenal Juliano Krue Valdi), their roles are little more than appearances, and anyway, they don’t undergo any kind of evolution. Surprisingly, and probably for legal reasons, Janet Jackson isn’t even represented in the movie, while their mother, Katherine, has the role of a safe port for her tormented son.

Final Verdict: A Safe Portrait That Adds Little to the Myth

Even if several artists that actuelly worked with Michael during his life were involved in the biopic, the Michael biopic is surprisingly shallow. The director, Fuqua, and the producer Graham King (Bohemian Rhapsody), have worked with Jackson in the 80s. So did the producer John Branca (portrayed by Miles Teller in the movie) and coreographers Rich Talauega and Tone Talauega.

Even so, John David Logan‘s script narrows its focus to the family’s abusive dynamics and Jackson’s first steps and successes. It stops right at the peak of Michael’s career, with the Bad exhibition. In doing so, the movie fails to do justice to Michael’s creative process. Even if the recreation of the Beat It coreography and the Thriller music video are enjoyable, there isn’t much more than a backstage documentary can offer.

The Michael biopic lacks the attention to detail that his protagonist brought to every part of his performance, from the study of how a tie fell on an outfit to the centimeters of his white sock poking from his suit. In conclusion, it’s a movie that really doesn’t add much to the narrative. When nostalgia hits, it’s always better to tune in to the real thing.