There is no greater joy than watching an artist in performance of his art, whether he is a painter, a writer, or as in this case an actor. Jamie Foxx’s performance of his art in Ray, the screen biopic of one of the most talented artists of our time, Ray Charles, is a moving masterpiece. He gives the performance of which Oscars are made, and fortunately Hollywood was wise enough to know that.
We’ve all seen the trailers, and marveled at the impersonation, but don’t be fooled, his performance is less an impersonation than it is a spiritual channeling. He has mastered the unusual cadence of Charles’ speaking voice, his walk, his head movements, the shy ingratiating self-hug and broad smile that were his trademarks, but greater still, he has succeeded in giving you a glimpse into the soul of man who fought with and overcame his demons - Demons, that consumed and ended the lives of so many of his contemporaries. Foxx, who attended U.S. International University on a musical scholarship, was actually checked out and approved by Ray prior to his death.
We get to watch him as he goes from a band member, to solo artist, imitating Nat King Cole and Charles Brown, the more famous singer-musicians of his day, to finally infusing his music with his roots and upbringing - Gospel. He was criticized for being a blasphemous sinner, but his records sold so well they crossed over onto the white charts.
Still, ever present in the background, and slowly making their way forward was Ray’s greatest demons, heroin, and women. He was arrested several times for being in possession of drugs, and fathered numerous children out of wedlock, but it never got in the way of his music - That was his first love.
Director, Taylor Hackford, who bought the rights to this story way back in 1987, does a convincing job of showing Rays transformation, from a naive country boy to shrewd business man. The movie makes it clear throughout, as does his biography, Brother Ray, that early on his mother instilled the strength he needed to stand on his own two feet. In flashbacks we see how she forced him to be self-reliant, especially after he lost his sight to glaucoma at the age of seven. We, through flashbacks, witness the drowning of Rays younger brother at the age of five, and are reminded throughout, of the guilt he felt that he’d done nothing to save him.
Hackford & White also give us a history lesson, as we learn Ray’s negotiated recording contracts which were unheard of in his day.
During the height of his career, he negotiated percentages for records sold, that were higher than any artist, demanded and received ownership of his master recordings, and last but not least, a contractual clause which permitted him total artistic control. That last clause is one that 95% of today’s artists still aren’t able to obtain.
It was against the better judgement of the record company for Charles to record a pop album and a country album. But Ray’s instinct said otherwise, and everything he touched seemed to turn to gold.
He was the first artist during his era, to refuse to play for segregated audiences, even though the south offered the most lucrative contracts in the United States. For this, his music, and Ray himself was banned from performing in Georgia. Then in 1979, Georgia embraced him, by not only lifting the ban, but publicly apologizing, and making his hit song, Georgia On My Mind its state song.
However in the 60’s when heroin began to take its toll on him physically, he checked into a hospital and kicked the habit cold-turkey, refusing to be weaned off heroin by using methadone. Ray had made up his mind that the drugs were making him dependent, and not standing on his own two feet, as had been instilled in him by his mother was not an option.
The scenes of withdrawal as filmed by Hackford, is some of the most harrowing in the movie. Taylor Hackford, along with writer James L. White have done a commendable job. Unlike most biopics, which glorify their subjects and minimize their warts, this film explores the darkest periods in Ray’s life and growth as a musician and as a human being.
At times I think they concentrate on it a little too much. Still, they seem to be making an honest effort to give the film goer true insight into the heart of this talented man. In that effort, they try to show how events in his past relate to his behavior years later. The few scenes in which they play amateur psychiatrists seem contrived, and just a little too pat, but they can be forgiven, for in this case, the whole is greater than the sum of its parts. If I have one real criticism, it’s the more than two hours length - There were a few scenes that could have been deleted to make the story tighter and lessen the restlessness factor.
Ray is not a great film, but rather a realistic chronicle of a man, who stumbled along the path, had his foibles but succeeded in living the American dream, causing one to realize, if all this can be done by a man who was blind, what excuse do those of us with all our senses intact have for not exploring our talents - Whatever they might be?
And while Foxx’s performance is undeniably outstanding, he is equally matched by those around him, such as Kerry Washington, as Della, his long-suffering wife. She holds her own in her scenes with Foxx, and Regina King, as Margie Hendricks, the background singer with whom he had a long-term affair, and fathered a son, gives her best performance to date. In fact, this movie has some of the best ensemble acting of any film this year. These people came to work, and it is evident that it was work they truly enjoyed.
Hackford & White fare much better when they simply tell the story, and let the emotional impact of the music move us along to a deeper understanding of Ray. Even if I hadn’t known prior to seeing the film that they’d spent years getting to know Charles, in preparation to bringing his story to the screen, I would know that they not only respected Ray, the musical genius, but truly grew to know and love, Ray, the man. It is evident in each scene and each word uttered by the actors. Other notable performances: Sharon Warren as Aretha Robinson, Ray’s mother, and Clifton Powell as Jeff Brown, his band manager.
The cinematography by Pawel Edelman is magnificent, capturing the various hues and nuances of each era from the lush warm colors of the 30’s to the crisp strident colors of the 60’s. Do yourself a favor, if you see no other film this year, see Ray. You will truly be entertained and enlightened.
CAST
Jamie Foxx - Ray Charles (Robinson)
Kerry Washington - Della Charles
Regina King - Margie Hendricks
Sharon Warren - Aretha Robinson
Clifton Powell - Jeff Brown
Larenz Tate - Quincy Jones