PopMatters is moving to WordPress in December. We will continue to publish on this site as we work on the move. We aim to make it a seamless experience for readers.


'Get On Up': James Brown Imagined

"You see where this thing is going" from the first frames of Get On Up. But you also wish you didn't; you wish that it would have been smarter, more nuanced, and less fantastic.

Get On Up

Director: Tate Taylor
Cast: Chadwick Boseman, Nelsan Ellis, Dan Aykroyd, Viola Davis, Lennie James, Fred Melamed, Craig Robinson, Jill Scott, Octavia Spencer, Brandon Smith, Tika Sumpter, Aunjanue Ellis, Jacinte Blankenship, Jamarion Scott, Jordan Scott, Allison Janney
Rated: PG-13
Studio: Universal
Year: 2014
US date: 2014-08-01 (General release)
UK date: 2014-09-26 (General release)

"You see where this thing is going?" James Brown (Chadwick Boseman) is looking at the camera, which is to say, you, as he sits across from Ben Bart (Dan Aykroyd). While Bart is explaining to him the "rules" of the music industry, including payola and management and artist contracts. Brown has other ideas, which he's already explained to you while walking through the backroads restaurant where he's picked up a plate piled high with fried fish, which he now sets on the table between him and Bart. "You forget," Bart's just said, "I don't only work for James Brown." And yes, you do know exactly where this thing is going.

The moment is one of several in Get On Up where Brown addresses the camera directly, inviting you to feel part of his plan and sometimes his chaos, reminding you that you're watching a movie about a famous real life person who helped to change the way music industry works, and oh yes, to declare to audiences in 1968, "I'm Black and I'm Proud." Such moments might also help you to feel a little less flummoxed by the movie's untidy structure, its lurching from year to year and theme to theme, its episodic historical touchstones: here's James Brown meeting the Rolling Stones, here's James Brown calming a crowd in Boston after Martin Luther King Jr.'s assassination, and here's James Brown beating his wife.

Some of these mishmashy moments convey the turbulence of the artist's life. His childhood was famously harrowing, briefly noted in scenes where the boy James Brown (played by twins Jordan and Jamarion Scott) observes and endures abuse by his father (Lennie James) and abandonment by his mother Susie (Viola Davis). It's unclear when the family moves from a South Carolina shack to Augusta, Georgia, but young, lanky James does spend a few years living with Auntie Honey (Octavia Spencer) in her brothel ("I guess everyone gotta be someplace sometime," she sniffs, when his dad drops him off). In this version of Brown's life, the aunt bestows on him a singular appreciation for money and a belief that he's special ("One day, everybody going to know your name"). As eagerly as Auntie Honey has him soliciting johns for money, she also urges his salvation by music, and so Brown finds his way in and out of jail and into a group called the Famous Flames, featuring Brown's devoted friend Bobby Byrd (Nelsan Ellis).

Brown might develop an affection for his aunt, but he certainly develops an abiding, understandable fury at his mom, which may or may not inform his difficult relationships with women going forward. The film indicates that he's married more than once, that he's ambitious and egotistical ("I knew the day I was born," he says, that he'd be a star), and even that he uses his children as props (perhaps following Brown's own lead, as he brings them along to press conferences), but otherwise, presents little of Brown's personal biography. It's a strategy that makes sense, in telling the story of a man who was so supremely performative, for so long, but it also results in the sort of broad, cartoonish characterizations that also spoiled director Tate Taylor's previous film, The Help.

Here the cartoons are occasionally redoubled, in that Brown was fond of the outsized act too. His interaction with Little Richard (Brandon Smith) is here reduced to a couple of scenes, one where he and the Flames grab Little Richard's stage while he takes a break, and the next where Little Richard offers advice at the burger joint where he's working because he can't yet make a go of his music career. As Little Richard faces Brown, their matching pompadours like mirror reflections, it's hard to tell what's most striking, his caution regarding the "white devil" or his flamboyant flirtation with his would-be protégée.

If this crazily imagined moment suggests Little Richard is struggling because he won't quite play ball with the establishment, another suggests just how far Brown was willing to go to do just that. During a taping of "I Got You (I Feel Good)" for the movie Ski Party, his clownish appearance in a red ski sweater, surrounded by white kids in turtlenecks and stretch pants is actually rather too like what was actually produced for the Frankie Avalon movie. It makes you wonder how the man survived his own success.

And this is the most emphatic point made by Get On Up. As brutal as Brown could be with his own band members and his wives, as troubled by drugs, traumas, and paranoia as he might have been, his genius is undeniable. Boseman's evocation of the dancing helps to show some of that, and also goes some distance toward distracting from the bad aging makeup and the "greatest hits" approach to story structure. But it also might make you want to see and treasure the Real James Brown (duly noted in this film's final credits sequence of photos). "You see where this thing is going" from the first frames of Get On Up. But you also wish you didn't, that it would have been smarter, more nuanced, and less fantastic, less the cartoonish portrait that James Brown too often performed to try to beat that white devil at his ongoing game.


Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology provider that we have until December to move off their service. We are moving to WordPress and a new host, but we really need your help to fund the move and further development.





The 100 Best Albums of the 2000s: 60-41

PopMatters' coverage of the 2000s' best recordings continues with selections spanning Swedish progressive metal to minimalist electrosoul.


Is Carl Neville's 'Eminent Domain' Worth the Effort?

In Carl Neville's latest novel, Eminent Domain, he creates complexities and then shatters them into tiny narrative bits arrayed along a non-linear timeline.


Horrors in the Closet: Horrifying Heteronormative Scapegoating

The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.


Johnny Nash Refused to Remember His Place

Johnny Nash, part rock era crooner, part Motown, and part reggae, was too polite for the more militant wing of the Civil Rights movement, but he also suffered at the hands of a racist music industry that wouldn't market him as a Black heartthrob. Through it all he was himself, as he continuously refused to "remember his place".


John Hollenbeck Completes a Trilogy with 'Songs You Like a Lot'

The third (and final?) collaboration between a brilliant jazz composer/arranger, the Frankfurt Radio Big Band, vocalists Kate McGarry and Theo Bleckman, and the post-1950 American pop song. So great that it shivers with joy.


The Return of the Rentals After Six Years Away

The Rentals release a space-themed album, Q36, with one absolute gem of a song.


Matthew Murphy's Post-Wombats Project Sounds a Lot Like the Wombats (And It's a Good Thing)

While UK anxiety-pop auteurs the Wombats are currently hibernating, frontman Matthew "Murph" Murphy goes it alone with a new band, a mess of deprecating new earworms, and revived energy.


The 100 Best Albums of the 2000s: 80-61

In this next segment of PopMatters' look back on the music of the 2000s, we examine works by British electronic pioneers, Americana legends, and Armenian metal provocateurs.


In the Tempest's Eye: An Interview with Surfer Blood

Surfer Blood's 2010 debut put them on the map, but their critical sizzle soon faded. After a 2017 comeback of sorts, the group's new record finds them expanding their sonic by revisiting their hometown with a surprising degree of reverence.


Artemis Is the Latest Jazz Supergroup

A Blue Note supergroup happens to be made up of women, exclusively. Artemis is an inconsistent outing, but it dazzles just often enough.


Horrors in the Closet: A Closet Full of Monsters

A closet full of monsters is a scary place where "straight people" can safely negotiate and articulate their fascination and/or dread of "difference" in sexuality.


'Wildflowers & All the Rest' Is Tom Petty's Masterpiece

Wildflowers is a masterpiece because Tom Petty was a good enough songwriter by that point to communicate exactly what was on his mind in the most devastating way possible.


Jazz Composer Maria Schneider Takes on the "Data Lords" in Song

Grammy-winning jazz composer Maria Schneider released Data Lords partly as a reaction to her outrage that streaming music services are harvesting the data of listeners even as they pay musicians so little that creativity is at risk. She speaks with us about the project.


The 100 Best Albums of the 2000s: 100-81

PopMatters' best albums of the 2000s begin with a series of records that span epic metal, ornate indie folk, and a terrifying work of electronic music.


The Power of Restraint in Sophie Yanow, Paco Roca, and Elisa Macellari's New Graphic Novels

The magical quality that makes or breaks a graphic novel lies somewhere in that liminal space in which art and literature intersect.


'People of the City' Is an Unrelenting Critique of Colonial Ideology and Praxis

Cyprian Ekwensi's People of the City is a vivid tale of class struggle and identity reclamation in the shadows of colonialism's reign.


1979's 'This Heat' Remains a Lodestone for Avant-Rock Adventure

On their self-titled debut, available for the first time on digital formats, This Heat delivered an all-time classic stitched together from several years of experiments.


'The Edge of Democracy' and Parallels of Political Crises

Academy Award-nominated documentary The Edge of Democracy, now streaming on Netflix, lays bare the political parallels of the rise of Bolsonaro's Brazil with Trump's America.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.