“Beyond The Lights” is not a story
about a singer. It's a story about a singer's circus replete with
hangers on, shady music executives, a stage mother from Brixton (move over
Mommy Dearest) and the ringleader, a singer, Noni Jean, who has lost
her voice. No, not physically, but spiritually and mentally. The
songs she sings, the excessive life she lives, and the risque stage
performances are all an outlet for a persona, not a real person.
Throughout the film, you can visibly hear and see Noni Jean regain
and reclaim herself as a woman, a singer, and a performer tremulously and triumphantly. Noni Jean
eventually reigns in the madness around her and within
her in a moving and profound performance from Shakespearean trained
actress, Gugu Mbatha-Raw (Belle, Undercovers). It's a
truly astonishing, inspiring, and breathtaking feat.
Gugu-Mbatha Raw effortlessly channels
Rihanna, Beyonce, Mya, and the ill-fated Aaliyah as convincingly as her
endearing British accent flows from her lips. I'm not suggesting that
she is attempting to mirror a particular singing star or even create
a composite- her performance is totally original, touching on
familiar stories of burnt out young celebs, while offering balanced
layers of emotions, motivations, attitudes, and internal conflicts.
She's sexual, she's vulnerable, she's innocent, she's rude and it all
blends into a believable, complicated character. And the girl can
really sing, too!
Nate Parker (Officer Kaz Nicol)
epitomizes the officer and the gentleman that women swoon over.
Resembling a younger Denzel in appearance and manner, his slight
vulnerability is tempered by an undeniable masculinity. Heroically
saving Noni from suicide by literally taking the full burden of her
dead weight, he unpretentiously sees it as all in a day's work
without appearing trite or plastic. His “savior” instinct is
realistically built-in to the character without being buoyed up by
some false “I was bullied” backstory. Parker's dynamism as both
protecting and domineering, loving and slightly smothering is played
with incredible tenderness and strength. As Noni's “man”, he never allows
himself to become an accessory to her career or celebrity status, but
maintains his course and integrity while gently awakening hers.
Minnie Driver nails it. All I saw was her character, Macy Jean, a hard-nosed and domineering mother, delivered in an electric, unapologetic performance. Danny Glover brings a sobering touch as Kaz' community oriented father without stealing the show (he could have if he wanted too). Machine Gun Kelly (Kid Culprit) was a new face for me but his raw, merciless portrayal of a jilted celebrity ex makes you pay attention every time he's on screen.
The chemistry between Noni and Kaz is
so real because it successfully harmonizes two strong independent, driven characters like two cellos, or a piano and a harp. Neither is
“bigger” than the other, but they play oh, so well together! The
parallels between Kaz and Noni are obvious. Both are talented young
people, groomed for a certain path by strong single parents. Both
periodically resist and succumb to external pressures. Both take the
way out that they see. But only one of them is self-destructive. And only one of them can save.
I laughed, cried, and experienced the
passion of new love and lurid fascination with the fast pace and
underworld of stardom, which is what a great movie about a young
singer should do. I anticipated
this movie with a mix of fear and
dread. After Gugu's exquisite coming of age performance in “Belle”,
I wondered if her career would take a slide in America because of our
resistance to the British, especially Black British. I couldn't have
been more wrong.
The filmmaker doesn't offer
explanations or apologies for celebrity burn out or bad behavior as much as she
offers suggestions for confronting it or avoiding it. Almost like a
big sister quietly laying out an alternative outfit without saying
that she hates what you're wearing. There is a cathartic scene
between Noni and her domineering mother, which leads you to believe
that Macy Jean wants to be that tender, cookiesn'milk mom and truly reconcile with her daughter, but the script refuses to take that easy way out and uses the moment to include another dimension to their complicated familial/professional relationship. Personally, I came away with a more sympathetic view
of some of today's reigning young queens (and kings) of music.
Beyond the Lights is simply a
“must-see” film. No moment on the big screen is wasted or
gratuitous. Every frame is set up to capture the emotion or action needed
to achieve the greatest impact.
So treat yourself to a front row seat
and a back stage pass as Beyond The Lights takes you on an
unforgettable emotional journey beyond the stage.
