Contacts are important in “Mother Rainy’s Black Bottom”. Whether listeners know Mama Rainy’s reputation as the “mother of the blues”, August Wilson confirms that the music is a bigger character than life before she steps into the pioneer life, and because Netflix’s Soko feature adapted to the final role of “Black Panther” star Chadwick Bosman. Has, whose death in August surprised the film world, has also taken on an exciting status.
But let’s get started.
The year was 19227, and Mother Rainy (Viola Davis) was booked into a studio on the south side of Chicago – with the title number, to record some of her famous songs, including some of her most famous title numbers. Her manager Irwin (Jeremy Shamos) and album producer Sturdywant (Johnny Quinn), two white male mothers who have enough time for the audience to come to the conclusion that Rainy is a kind of prime donor, have enough time to pick her hands with hotshot horn player Levi (Bosman). “Mom was well present before, they rehearsed downstairs while the boss lady waited for her big entrance. And so he does.
After leaving the play, director George C. Wolf (“Lacavana Blues”) opened his film with a short tease of Mother Rainy’s supernova appeal, and his work deepened into the woods for rural black audiences. This glimpse gives us a star perception of its material. Her first proper scene, however, is written by Wilson, and it features the singer around an angry white face: Mother Rainy yelling at a police officer. His driver arrived at the studio late, caused an accident in the process, and now authorities are threatening to drop him off at the station.
As the wife of Wilson’s “Fence” hard love, Oscar-winning Davis looks virtually as unrecognizable as Rainey, with her scented panda-eye makeup, tired-fluttering wig and the expression “I dare you”. The actor has transformed his silhouette, his position and his outlook into something somewhat contemptible, a queen mother, in front of whom others should be drawn. This is because, Davis’s greatest asset – a visionary belief in himself that burns through the character’s spine and soul, makes it clear that Mother Rainy was not pushed around any woman.
About Davis’s acting power of almost every second, who has the upper hand, and what it means for a person to be in a subordinate position – Ruben Santiago-Hudson’s dutiful adaptation has created some spellings in that subtext Will vary accordingly.
The first entry in Wilson’s landmark Pittsburgh cycle – 10 plays about the black experience in the 20th century, one every decade – “Mother Rainy’s Black Bottom” revives the jazz era from an African American perspective. White characters are relatively rare in Wilson’s work, and here Irwin, Sturdevent, and that cop present a system that exploits Krishna culture. In the days of solo sovereigning in the recording studio, we witnessed victories and defeats decorated by the blues – an art form informed by oppression, and now a connection. Wilson, however, does not compose happy dramas and it ends in a note that sounds like a tired sigh in the mourning trombone.
“They don’t care about me.” They were just my voice, “Mother Raini said, explaining after refusing to sing until she had fulfilled her promise to deliver a cool bottle of Coca-Cola. Suddenly, Diva took a new approach to what it looks like to behave. Mother Raini acknowledged that openly Bisexual, underage, black women like themselves are usually thriving in Chicago in the 1920s, and she is gaining what she has – the talent to set the terms.
However, mother Raini is not the only one who has merit. Levy (it will be Bossman) wrote a few songs of his own, following the formula of SturdyVoin’s “Jazz It Up” according to his white clients. To these ears these sound like improvements but the versions of the problem are better than that. Levy’s bandmates – Coulter (Coleman Domingo), Toledo (Glenn Turman) and Slow Drug (Michael Potts) – question what his interest in integrating his doormen says about his values.
Mother Rainy realizes that as soon as Sturdywant’s record is set, she can relinquish her citizenship and have her cut off from the picture. He has fought to be true to his roots, to give a voice to his people (which he told his cousin’s nephew to introduce the title song), although Levy sees no problem in any reunion. But if Wilson criticizes this inspiration, he complicates it by showing that Levy is not a traditional uncle Tom: At first, the audience is still trying to figure out his character, Levy narrates an incident he witnessed at the age of 8 that made him feel bad. Threw. In each case.
Wilson writes characters that express themselves on levels, and although the movie gives Levi a cinematic identity of its own, complexity is added to each scene. Bosman steps into the film, frustrated and restless, restless. The confidence and composure of the icons he has acted in before – Jackie Robinson, Thargod Marshall, T’Challa – has melted into a kind of nervous insecurity that we actors have never seen. Levi hungry, horny; He has a lot to prove. “Mother’s Daughter,” including Daisy May (Taylor Pieg) – is the way she flirts with every handsome young man, and it’s on the verge of blowing up a week’s wages across new shoes.
Levi Dunco plows into the room where the band pushes against the wall of the wall, beset by heavy, rusty doors that become a clear symbol of his ambition: is it a shortcut or an end? The history of modern American music is broadened by the allocation and direct theft of blackbird culture. Inspired by the blues, Wilson finds the moment he imagined here, and that tradition continues today.
The playwright imagined Levi as a tragic figure and real life doubled. As strong as Davis’s performance may be, it’s right in the title of Bosman’s Movie: Mother Rainy, but every time Levy tries to snatch his show, it’s clear that when he starts concentrating, our vision should be – a star is falling. , Leaving everything on the screen. How lucky that Bosman’s legacy should include this film, a tribute to the black art that is tough enough to handle the cost of building it.