![]() ![]() The recreation of the period and it's attitudes are spot on, and the cinematography by Anastas N. I don't care that the structure is straightforward. But what we know today-that these individuals became legends-is of great consolation. When we watch America's taste in music change-both before and after the centerpiece of this story-we're at first exhilarated at the discovery of this "new" form of music, and when it wanes and the lives that were propelled to stardom flag, we feel an enormous sadness. ![]() And we're given a generous helping of sensational James' track very well covered by Ms. As the conflicted and troubled Etta James, there's a scene on a livingroom floor in front of a fireplace that should win Ms. Knowles takes a sensational role and scorches the screen. It's only when Beyoncé Knowles arrives that he stumbles, and who can blame him. I've never been much of a fan of Adrien Brody, but in the first half of the film, he's quite effective. And in smaller roles, Eamonn Walker as Howlin' Wolf and Mos Def as Chuck Berry nearly steal the show. Columbus Short as Little Walter and Gabrielle Union as Water's wife are equally impressive. As well, the entire supporting cast (and it's a large cast) really rise to the occasion. As Muddy Waters his towering strength both as a character and an actor are very impressive here. Jeffrey Wright finally gets a role that hopefully will secure his stature. I can't speak to the accuracy of its historical facts regarding Leonard Chess' exploitation of some of music's largest figures, but the screenplay zooms along and takes us with it. While this film lacks an original framework (it's "Ray" and "La Bamba" and "Hot Wax" and "Why Do Fools Fall in Love".), both the subject-a seminal recording label-and the performances make this electrifying entertainment. ![]()
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