One of the biggest tragedies of the terrible year that was 2020 was the loss of Chadwick Boseman. The young actor was on the cusp of superstardom with his brilliant turn as the king of Wakanda in Marvel’s Black Panther and diverse roles in 42 and Get on Up cementing him as a terrific talent to watch. His final role in George C. Wolfe’s Ma Rainey’s Black Bottom is made even more bittersweet by the fact that it is best work, an award-worthy showcase of raw talent snatched away far too soon. Paired with the always stellar Viola Davis as legendary blues singer Ma Rainey, the duo clash as they both strive for their independence in different ways, resulting in some truly enrapturing monologues that capture all the intensity and desperation of the African-American push in the 1920s to gain respect and recognition in America.
Boseman plays Levee, a talented, upstart trumpeter in Ma Rainey’s back-up band who feels the time has come to start his own band and put himself on the map within the Jazz community. During rehearsals at a Chicago studio prior to a recording session, Levee begins to clash with the other members of Ma’s band, who become angered by his arrogance and lack of respect for Ma – a woman who has given him the chance of a lifetime and pushed the boundaries for African-American artists in an industry which had constantly rejected them. As Levee’s frustration with his status begins to grow, so too does Ma’s, as she defiantly battles with white studio executives to avoid having her artistic vision compromised to increase sales. As tensions rise all around, decisions are made that will fracture futures and make or break lifelong dreams.
Adapted from famous African-American playwright August Wilson’s arguably seminal play, Wolfe has his work cut out for him in transferring that single location setting to the screen and making it interesting. What could have been a technically boring film of speeches and conversations absolutely sings thanks to the smooth and fluent camerawork, which spins and careens around the room as the band-mates converse, highlighting each of them as they say their piece and immediately flicking around to capture the response. It makes what amounts to an hour and a half of talking riveting and captivating cinema that keeps you on the edge of your seat as the conversations become more personal and intimate and the hardships and trauma of these four men are laid bare. This energy is infused into the dialogue as well, which is never preachy but always hard-hitting and to the point. These men have all been through hell in their own ways, Levee maybe more than the rest, so slowly unravelling their stories through these conversations not only invests you in the characters but in the struggle of the African-American community for respect and recognition in America.
Then there are the performances, which put simply, are world class. Davis is almost unrecognisable as Ma Rainey, drenched in makeup and wearing an extravagant gold grill, she completely commits to the character, carrying herself with a mixture of well-earned arrogance, pride and fear that all that she has worked for will be ripped away if she does not stand up for herself. When Levee or the studio executives begin to overstep their boundaries, Ma does not hesitate to put them in their place – whether that be through her ferocious temper or diva-like behaviour that adds some levity to the otherwise heavy proceedings. Boseman is transformative as Levee who is initially wide-eyed and hopeful about his future, but as the discussion veers into his backstory and the plight of the African-American community you realise there is far more to this troubled young man than just his hopes for a Jazz-filled future. The mad glint in his eyes may seem like a reflection of the hunger and excitement for becoming his own man but under the surface is a darkness and fear bubbling away born from some truly horrifying, eye-opening trauma from Levee’s past. There are two monologues in particular where Boseman lays everything on the table, shattering nerves and breaking your heart as he breaks down and begins to crumble. These scenes alone should net Boseman a posthumous Oscar but he never lets that intensity and energy lapse, carrying it the entire film until the shocking finale.
Ma Rainey’s Black Bottom is a showcase for two of the finest actors of this generation, one tragically taken far too soon. Boseman and Davis are electric and captivating on levels audiences didn’t think they could reach, easily some of the best performances of the year and worthy of the inevitable awards consideration. George C. Wolfe’s film isn’t content to rest on the laurels of these two superstars, however, crafting a beautifully shot and decorated film that benefits from its swift pace to carry you through captivating discussions of the African-American experience in a different time. The themes and trauma of the characters, however, are still as relevant today as ever, especially in the heated climate of 2020, making this one of the most important films of the year; as informative and eye-opening as it is enjoyable to watch.
Ma Rainey’s Black Bottom stars Viola Davis, Chadwick Boseman, Colman Domingo, Michael Potts, Taylour Paige, Dusan Brown & Glynn Turman – Streaming on Netflix now.