Michael Jackson’s Journey from Motown to Off the… | Little White Lies

Festivals

Michael Jackson’s Jour­ney from Motown to Off the Wall – first look review

29 Jan 2016

Words by Ed Gibbs

Two men, one wearing a casual sweatshirt and baseball cap, the other in a tuxedo, standing against a brick wall.
Two men, one wearing a casual sweatshirt and baseball cap, the other in a tuxedo, standing against a brick wall.
Spike Lee’s fol­low-up to Bad 25 shines a light on the King of Pop’s indis­putable tal­ents, but is oth­er­wise alarm­ing­ly lightweight.

Designed, it would seem, to bol­ster sales of Jackson’s back cat­a­logue – par­tic­u­lar­ly his 1979 solo break­through Off the Wall’ – this cel­e­bra­to­ry, track-by-track TV doc rev­els in its subject’s rise from Jack­son 5 front man to bona fide solo star, with plen­ty of very fine per­for­mance archive in tow. What is sore­ly lack­ing, though, is any ounce of depth in explor­ing more of what we already know. Per­son­al busi­ness is air­brushed to the point of absur­di­ty – Jack­son fam­i­ly mat­ters are strict­ly off limits.

As if to empha­sise to the point, Spike Lee’s film presents bull­ish Jack­son patri­arch Joe ear­ly on, in an ill-advised attempt to seem­ing­ly exon­er­ate him from the icon’s demise. Jackson’s famous­ly trou­bled child­hood is skirt­ed over in light­en­ing-quick fash­ion – there is no men­tion of his bizarre adult activ­i­ties, either. It is, effec­tive­ly, a rewrit­ing of his­to­ry by the Jack­son estate, focus­ing sole­ly on the man’s music (and moves), the industry’s view of that musi­cal rise to fame, and Jackson’s own ambi­tions of becom­ing a megas­tar. Once he teamed up with pro­duc­er Quin­cy Jones with­out his broth­ers, of course, he became an unstop­pable force of nature.

Lee scores some points by ring­ing in a vari­ety of cul­tur­al com­men­ta­tors to high­light Jackson’s influ­ences (Gene Kel­ly, Sam­my Davis, Jr and Jack­ie Wil­son chief among them), and in trac­ing the Jack­son 5 jump­ing ship from Motown to Epic Records (which left Jer­maine out in the cold, owing to his mar­riage to label boss Berry Gordy’s daugh­ter). As ear­ly as 1973, iron­i­cal­ly at the white-friend­ly Acad­e­my Awards, Jack­son the solo star was emerg­ing, per­form­ing the weepy hit Ben’ (from the oth­er­wise for­get­table big-screen hor­ror, about a killer rat). Lat­er still, in New York, Jack­son would per­fect his dance moves via such unlike­ly venues as Stu­dio 54.

It is easy to for­get, too, that the Jack­son 5 had essen­tial­ly lost cred­i­bil­i­ty, lit­er­al­ly becom­ing car­toon char­ac­ters, by the mid-’70s. The jump to Epic, as the Jack­sons (Gordy kept the 5’ moniker), proved essen­tial­ly a step­ping stone for Michael’s grad­u­a­tion to the post-dis­co pin-up megas­tar he would become with 1982’s Thriller’ (pre­sum­ably, the next entry in Lee’s MJ efforts).

But there is also those glo­ri­ous live per­for­mances – from ear­ly appear­ances on The Ed Sul­li­van Show’ and Soul Train’, to the late 70s come­back on Amer­i­can Band­stand and Top of the Pops’. Footage from London’s Rain­bow The­atre dur­ing the Jack­sons’ 1979 UK tour is a par­tic­u­lar high­light. If only Lee had placed these into a wider con­text, to bring some weight to proceedings.

Lee’s film sticks rigid­ly to a stan­dard, chrono­log­i­cal TV doc­u­men­tary for­mat – which isn’t a prob­lem in itself, but is odd, con­sid­er­ing his bold and inven­tive work, both with non-Jack­son doc­u­men­taries and nar­ra­tive fea­tures. For a man who so often can be relied on to high­light the injus­tices of the world – be it a white­washed Oscars, or a US gov­ern­ment ignor­ing the needs of African-Amer­i­cans strand­ed after Hur­ri­cane Kat­ri­na – this look at the Jack­son leg­end feels too much like a sani­tised puff-piece, approved by Jack­son Inc, albeit one with enter­tain­ing set pieces. For when we hear and see him per­form­ing, Jackson’s tal­ents can­not help but speak for them­selves – encour­ag­ing us to revis­it that remark­able body of work. In that sense, at least, it’s mis­sion accomplished.

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