This is one of the most difficult reviews I will probably ever write for reasons that include wanting the final images of Michael Jackson to be affiliated with excellence and the hope that tributes come forth worthy of his legacy, and because of the inevitable exploitation issues raised regarding any project on this mega-entertainer. But as the list of projects continues to grow – executed and planned – Michael Jackson’s This Is It may be the most successful monetarily, even if it falls short of effectively exonerating itself from rip-off associations. With its monumental worldwide opening October 28, 2009 (showings in some entire countries sold out within days of advance sells in September), the adoration and eagerness of fans to see Michael Jackson work his magic one more time, albeit not live on stage, may enhance the acceptability this film. Then, too, there is the matter of his three children who never had the opportunity to see their father perform live, and were slated to be surprise guests at the opening show at O2 Arena in London. For them, This Is It is probably the closest thing – which they will view in a private showing. Again, there is the matter of his fans. Jackson’s relationship with his fans was deeply heartfelt on both sides, and he would, in all likelihood, want to give them something innovative and unique even after making the transition. But is this film what he would have wanted?...Tidbits of his greatness?...Un-finalized, incomplete, nonlinear snippets of an unprecedented, potentially ground-breaking tour?...Michael Jackson seen giving less than100 percent?...all legitimate concerns.
Admittedly, Director Kenny Ortega did a credible job of intersecting selected shots from roughly 120 hours of available rehearsal footage into the 111-minute tribute to Jackson. Ortega chose clips that are visually interesting. The peeks into Jackson’s perfectionism are insightful. The presentations of aspects of signature segments in the show are extremely valuable to establishing for viewers a sense of Jackson’s overall concept for the concert. Enough was given to realize that had the tour occurred, it would have been incredible. Jackson looks pretty good despite being noticeably thinner and obviously holding back – with unusual skill - on dramatic dance moves reserved for the real thing; and he sounds great even though he is clearly saving his full voice for the same reason.
Jackson in black and white film (thanks to PhotoShop) taking on Humphrey Bogart and Edward G. Robinson creates a clever lead-in to Smooth Criminal, and he is quite funny in some of the conversational interactions with the singers, musicians, dancers and Ortega. These elements work as clear reminders that, after all, the intent is to present a documentary.
Michael Jackson’s This Is It is a paradox: a film that Kenny Ortega will probably reflect on in years to come with reasonable pride, and a tribute that die-hard fans will most likely consider to be something legitimate to cling to. At the same time, it raises concerns about what the man himself would have wanted or not wanted. His own production standard is high and legendary. To me, Michael Jackson was a genius. One of a kind. He deserves a tribute comparable to his legacy and equal to his passion. As one lone voice, for me, for now, this is not it; but I hold steadfastly to the possibility (and hope) that, perhaps, it may serve as a spark igniting its beginning.
Grade: B+
