While the late August Wilson was responsible for several highly
regarded plays, his most notable piece of work was The Pittsburgh Cycle,
a series of ten plays that, while not directly connected to each other in a ‘franchise’
sort of way, explored the lifestyles of African Americans throughout the 20th
century. Each play was set in a different decade ranging from the 1900s to the
1990s and all but one of them were set in Wilson’s hometown, the Hill District
of Pittsburgh, Pennsylvania. And in 2016, the first theatrically-released film
adaptation of these plays was made based on 1985’s Fences. The film
starred Denzel Washington and Viola Davis, who reprised the same lead roles
that they portrayed in the play’s 2010 Broadway revival, and was also notably
directed by the former. And upon its release, it was a solid hit with critics
and earned Davis an Oscar for Best Supporting Actress. This would prove to be
the first of Washington’s efforts to adapt Wilson’s work thanks to a deal made
with HBO (which was then moved to Netflix) to produce adaptations of other Pittsburgh
Cycle plays. Thus, we now have an adaptation of 1982’s Ma Rainey’s Black
Bottom, which presents a dramatized tale about the titular legendary blues
singer, Ma Rainey. But while this one also stars Viola Davis, Washington’s only
a producer this time around whereas directing duties go to George C. Wolfe who,
like Wilson, is also a highly regarded veteran of theater. And under his strong
direction, Ma Rainey’s Black Bottom is another top-notch adaptation of a
classic August Wilson play.
On a hot summer day in Chicago in 1927, blues singer Ma
Rainey (Viola Davis) and her band partake in a recording session organized by
her manager Irvin (Jeremy Shamos) and Mel Sturdyvant (Jonny Coyne), the owner
of their studio space. However, Ma isn’t too keen on the recording process and
would much rather stick to her touring performances down South. Thus, what
should’ve been a relatively easy day ends up getting increasingly complicated
by Ma’s frequent creative clashes with Irvin and Sturdyvant, from her preference
over which version of her hit song ‘Ma Rainey’s Black Bottom’ that they’re
recording to her request to have her nephew Sylvester (Dusan Brown) perform
with the group despite his stuttering problem. And if that wasn’t enough, some major
tensions begin to develop amongst her band members. Down in their practice
room, pianist Toledo (Glynn Turman) and guitarist and trombone player Cutler
(Colman Domingo) find themselves butting heads with Ma’s trumpeter, Levee Green
(Chadwick Boseman), who aspires to have a band of his own thanks to a deal with
Sturdyvant to produce his own songs. And as the day drags on, all the drama
that forms around those in Sturdyvant’s studio only proceeds to get worse and
worse to the point where it all ends in tragedy.
The one thing that surprised me the most about Ma
Rainey’s Black Bottom was how drastically shorter it was when compared to Fences.
Whereas Fences boasted a hefty 139-minute runtime, Ma Rainey’s is
only an hour and a half long. Now admittedly, I’m not too familiar with August
Wilson’s work so I don’t know how accurate this is to the play itself, but at
the same time, I’m sure that it makes perfect sense in this instance since this
is one of those ‘bottle episode’ type stories that takes place over the course
of a single day in a single location. And with that in mind, I’d say that this helps
make Ma Rainey’s Black Bottom just as sharply written of a play as Fences
was even if it wasn’t a Pulitzer Prize winner like the latter. As strong as
Fences was in conveying its themes such as the struggle to achieve the
American Dream and to properly provide for one’s family, it did suffer a bit
from the fact that, because of its ‘stage-y’ nature, you could often feel the
brunt of its long runtime. Ma Rainey’s, by comparison, does have the
same ‘stage-y’ feel to its proceedings but is arguably a lot more focused on portraying
the struggles that African Americans faced in the years before the Civil Rights
Movement. Whether it’s one of the band members telling a tragic tale of race-related
violence or simply the whole premise of Black performers being exploited by
their White managers, this film serves as a grim reminder of this country’s
dark past… and, unfortunately, certain incidents from our current times.
Just like Fences, Ma Rainey’s Black Bottom is
a premier actor’s showcase headlined by the phenomenal lead duo of Viola Davis
as the titular Ma Rainey and Chadwick Boseman as her ambitious trumpet player
Levee. Davis, in her second leading role in a Denzel Washington produced
adaptation of an August Wilson play, shines as always as the strong-willed Ma,
although it is worth noting that, because of how this story is structured,
she isn’t really the main character here even though said story bears her name.
Instead, that distinction goes to Chadwick Boseman as Levee since much of the
run-time is based around the conversations that he has with Toledo, Cutler, and
double bass player Slow Drag (Michael Potts). Thus, the most talked-about
aspect of this film has easily been Boseman’s performance, especially since it
ends up being the last performance of his career in the wake of his tragic
death last August due to colon cancer. Despite this, however, Boseman once
again proves that he was truly one of the best actors of his time with a
phenomenal performance where, despite playing an incredibly cocky braggart who frequently
acts like he’s better than any of his peers, still manages to be rather
sympathetic at times because of his tragic backstory. And while much attention
has been placed on Davis and Boseman’s performances, their co-stars are just as
great as well, especially Glynn Turman, Colman Domingo, and Michael Potts as
Ma’s other band members.
Thanks to the one-two punch of Fences and Ma
Rainey’s Black Bottom, it’s clear that Denzel Washington’s role of being
the key creative force behind the process of adapting August Wilson’s Pittsburgh
Cycle to the big screen means that this material couldn’t be in better
hands. While Fences wasn’t exactly my ‘favorite’ film from 2016, it was
still very much a well-made adaptation that was fully bolstered by strong lead
performances and the undisputed brilliance of August Wilson’s writing. And sure
enough, this also applies to Ma Rainey’s Black Bottom, which is arguably
even better by comparison. Obviously, a lot of what I say here will ultimately
come down to personal preference, but I feel that Ma Rainey’s manages to
get its thematic points across better, namely because it’s a lot shorter. At
just 94 minutes long, it never overstays its welcome, and while it may carry
the same ‘stage-y’ quality that was heavily apparent in Fences, that
doesn’t stop it from being a solidly engaging and wholly relevant story. And,
of course, the biggest selling point of this film is the amazing pair of lead
performances from Viola Davis and Chadwick Boseman. It’s safe to say that the
two of them will be attracting a lot of attention during awards season, and in
Boseman’s case, it would be an incredibly fitting way to honor a bonafide
cinematic icon in the wake of him being taken away from us way too soon.
Rating: 4.5/5
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