Once again, let’s start with the necessary context for this article. This is not a review of George C. Wolfe’s “Ma Rainey’s Black Bottom.” Those critical notices are currently embargoed and will arrive later next week. That being said, it should be no surprise to report the Netflix release is an Oscar player in a number of major categories including, first and foremost, Chadwick Boseman for Best Actor.
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Adapted from August Wilson‘s 1985 Tony Award-nominated play, the film centers on a contentious recording session of the real-life “Mother of the Blues” Ma Rainey (Viola Davis) and her band. Boseman portrays Levee, a horn player who increasingly finds him at odds with Rainey as his own professional aspirations come to light. Colman Domingo, Michael Potts and Glynn Turman round out the band. Dusan Brown has a pivotal part as Rainey’s stuttering nephew, Sylvester, and Taylor Paige is Dussie Mae, a young woman taking full advantage of both Rainey and Lezze’s passionate admiration. The entire cast is impressive enough to put on a shortlist for a SAG Awards ensemble nomination.
It goes without saying that the film already has historical significance after the celebrated “Black Panther” passed away after a long battle with cancer this past August. As the story unfolds it’s obvious that his performance as Levee would have been championed by critics and, most importantly, his peers, if he were still alive today. There is a specific zest and fire in Boseman here that he wasn’t always able to project even in lauded performances in films such as “42” or “Marshall.” It’s a window into Boseman’s unique talents. Artistic skills that had not been seen on screen before although he teased this aspect of his acting ability in his supporting role in Spike Lee’s “Da 5 Bloods” this past June.
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The last actor who earned critical acclaim and passed away before the Academy Awards was “The Dark Knight’s” Heath Ledger in 2008. The Aussie won the Best Supporting Actor in 2009 posthumously, a rarity in Oscar history. We’re not going to suggest that history will absolutely repeat itself in Boseman’s case, but it’s hard to see “The Father’s” Anthony Hopkins or “Mank’s” Gary Oldman topping the Gotham Awards-nominated actor next April. And that would have been our take even if Boseman was still with us today.
As for Ms. Davis, the Oscar-winner for “Fences” will easily earn another ticket to the big show after delivering what is arguably the most transformative performance of her career. Davis could win, but she has much tougher competition including “Nomadland’s” Frances McDormand and “Pieces of a Woman’s” Vanessa Kirby, among others, in contention. There is an argument, however, that Davis deserves to be in the two-time winners club and that might just tilt the race in her favor.
This pundit infamously proclaimed that the aforementioned “Fences” would not earn a Best Picture nomination because the Denzel Washington-directed film couldn’t truly escape its theatrical origins. We were clearly wrong in that case although we stand by our opinion it shouldn’t have been nominated in the first place. In any other year, “Ma Rainey” might have a tougher battle for a Best Picture nomination because of similar issues. The current coronavirus pandemic has seen so many films depart the race and a number of other contenders with the same theatrical underpinnings such as “The Father” and “One Night In Miami” seemingly make critical strides, that it might not matter. Maybe all three make it. Maybe just one does. Maybe none of them do, but we’re certainly a few months off from having a better guage, in this case, of “Ma Rainey’s” Best Picture nomination fate.
In regards to other categories, “Dreamgirls” veteran Tobias A. Schliessler’s cinematography is gloriously lit considering how much of the film takes place indoors and Ann Roth‘s costumes are indicative of the four-time nominee and “The English Patient” winner’s talents.
“Ma Rainey’s Black Bottom” arrives on Netflix on Dec. 18.