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Although constructed as an ensemble piece, Viola Davis’ turn as the main character – the “Mother of the Blues” of the 1920s – and Boseman’s as an ambitious trumpeter stand out, reflecting how the inequality racial rage of the time resulted in barely concealed rage. On this point, the lessons of the film resonate in the present, in a way that is both clearly intended and which seems more relevant in light of recent events.
Directed by George C. Wolfe from an adaptation written by Ruben Santiago-Hudson (and counting Denzel Washington among its producers), the action takes place almost entirely in a seedy Chicago recording studio. Ma and her band have made the pilgrimage to Georgia to make a record, but tensions within the band, as well as between Ma and her manager (Jeremy Shamos), boil below the surface and at times boil.
Boseman’s Levee has big dreams, including bringing her own creative touch to Ma’s songs, which just won’t fly with her. “You play Ma’s music when you’re here,” he says by Cutler (Colman Domingo of “Fear the Walking Dead”), a veteran of the band with characters played by Glynn Turman and Michael Potts.
Levee, moreover, braves Ma’s wrath in more than one way, having laid eyes on his girlfriend (“Hit the Floor”, Taylour Paige). He also longs to have his own band, forcing them to behave with concern towards the white manager and producer, despite a painful past that he recounts in great detail.
As for Ma, she typically arrives late, continuing like a typical showbiz diva, demanding her three Cokes before singing a note and repeatedly threatening to cancel the entire session and retreat to the South.
After a while, the foundations of this combative posture become clear, reflecting his recognition that those who seek to capitalize on his talent “don’t care about me. All they want is my voice.”
Wolfe does what he can to open the presentation, but the lengthy monologues and rat-a-tat banter make the roots of the scene almost impossible to remove. Luckily, Davis and Boseman deliver powerful performances, lashing out at those around them – especially, in Levee’s case, due to constraints on where and how he can direct his anger.
While “Black Panther” remains a huge part of Boseman’s legacy, his flashy and swift role here – using music as a means of seduction – demonstrates his extraordinary reach and at least watching almost erases considerations beyond that. who’s on screen, which is no small feat.
Davis, for her part, digs her teeth into another larger-than-life character as only herself can, the only complicating factor being that her relatively limited screen time makes the meaty role hard to categorize from an awards perspective. . The movie, by the way, is sort of a reunion, having previously starred alongside Washington in Wilson’s adaptation of “Fences.”
At a little over 90 minutes, “Ma Rainey” – like any experienced interpreter – does not exceed its welcome, or does not risk stretching the place beyond its weight. Thanks to her tracks, she rather spends a few breathtaking moments, before taking that last well-deserved curtain call.
“My Rainey’s Black Bottom” will receive a limited theatrical release on November 25 and air December 18 on Netflix.
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