Ma Rainey's Black Bottom

Gertrude "Ma" Rainey, the "Mother of the Blues," is the title character of August Wilson's Ma Rainey's Black Bottom. Her band is there to perform the music her way. Viola Davis perfectly embodies Ma's dominating personality, but Chadwick Boseman, in his final role, equally dominates the film as her trumpeter, Levee.

Anyway, it's Chicago in 1927. Levee and the other members of Ma's band, Cutler (Colman Domingo), Slow Drag (Michael Potts) and Toledo (Glynn Turman) assemble to record Ma's latest album. Levee is looking to strike out on his own. He wants to re-arrange the title song to something jazzier. But the others aren't won over by his attitude. Neither is Ma, who arrives late to the session with her girlfriend, Dussie Mae (Taylour Paige) and nephew, Sylvester (Dusan Brown). The conflicts within the band eventually explode.

The film was directed by George C. Wolfe, who, among his theatre credits, directed both parts of Angels in America. The screenplay was adapted by Ruben Santiago-Hudson, who also starred in Wolfe's Jelly's Last Jam. The resulting ninety-four minutes are dynamic. No scene or bit of dialogue is wasted in the transition. We get to know the characters and how life treated them. You'll barely notice the story's stage play origins. 

Boseman as Levee leaves the strongest impression. He's introduced as a swaggering dreamer ready to hit it big. He's so full of himself that he doesn't care how he'll make it. But he's not some naïve fool. We understand his persona with some intense monologues. He's just waiting to erupt with rage and he finally does so. The climax sees him at his scariest and most unreasonable. 

Now for the title character. The film wastes no time establishing her persona. We see her argue with a cop after a traffic accident outside the studio. We see her march in over her manager, Irvin, and producer Sturdyvant. She quickly shoots down Levee's arrangement idea. She's difficult, but we understand her. We see her world-weariness in her disheveled face (great makeup work). She needs to be heard by the uncaring world. And if she'll be a diva, so be it. Davis's performance gives the film another strong note.

There are some great technical stars. Editor Andrew Mondsheim opens the film with a great montage establishing Ma's presence in the 20's. The recording of the title song is an excellent musical sequence … which amplifies the disappointment when it's revealed the microphone is busted! Cinematographer Tobias A. Schliessler draws a contrast between the claustrophobic recording studio and the vibrant Chicago outside. He and production designer Mark Ricker paint an apt metaphor for Levee's situation near the end. Nowhere to go. Costume Designer Ann Roth and the sound designers also deserve whatever praise comes their way.

Ma Rainey's Black Bottom is another strong addition to an unusual film year. The next Oscars are in April, so you have plenty of time to see it on Netflix. I mean, neither you or Oscar will forget its stars. They won't let you forget. Keep in mind that it doesn't end happily for all.