Cadillac Records
by Guest Contributor SLB, originally posted at Postbougie
I think if we’re all quite honest with ourselves, we’ll admit that the methods to approaching big-screen biopics are finite—especially biopics about musicians. In order for people’s lives to warrant the silver screen treatment in the first place, those lives have to possess extremes—a series of extenuating events that can be exploited for the highest dramatic impact the actors can generate. And face it: biopics are only as good as their actors. Sure, the writing has to be passable. If you’re lucky, the writing makes the actors’ jobs easy, but to our main point: the lives themselves provide the pathos. The writers need only heighten it. Yes, there are glaring historical omissions. Yes, there are all kinds of melodramatic liberties taken—especially in the film’s second to last scene of this film. But that, too, comes with the predictable territory of biopics, and good actors mine that melodrama for all its worth. That’s what makes a decent biopic so watchable.
Everyone involved in Darnell Martin’s Cadillac Records understands the pecking order of the biopic genre—which is precisely why this one works so well. Fortunately, the casting directors brought their A-game, tapping Adrien Brody as Leonard Chess, the Jewish-Polish immigrant who founded the most successful Blues and R&B label in Chicago history, Chess Records, and the incomparable Jeffrey Wright as Muddy Waters, Chess’s flagship artist.
With Brody and Wright anchoring the film, the substantial supporting cast had no choice but to tow the Oscar-caliber line and, with very few exceptions, they did. Granted, Cedric the Entertainer was probably miscast as songwriter Willie Dixon. He always sounds like he’s faking an accent, rather than playing a role. It’s as though his acting ability doesn’t extend beyond varying the tenor of his voice. But since he was only in a few scenes, total (even his role as the narrator didn’t yield him that many lines), he wasn’t distracting at all.
Other actors with pretty small roles included Eamonn Walker as Howlin’ Wolf, Mos Def as Chuck Berry, and Beyonce as Etta James. Walker’s Howlin’ Wolf was a formidable presence with an icy glare, a grim smile, and serious control issues. Mos Def was suave, comical, and chagrined in equal measure. Beyonce was surprising as a pottymouth and walking wound, with a penchant for syringes and pints of gin. She has miles to go before she’ll be able to carry a role with no singing involved (and speaking of singing, I think I would’ve preferred it if she’d lip-synched… especially on “At Last,” but that’s a nitpick), but she’s grown leaps and bounds beyond her last high-profile role as Deena Jones in 2006’s Dreamgirls.
The real standout among the supporting cast was Columbus Short as Little Walter. From his first frame, a conk in his hair and a harmonica on his lips, Short electrifies in his role as the dark, wounded, and slightly psychotic blues singer. Short is strongest in scenes with Wright and Gabrielle Union (who plays Geneva, Muddy Waters’ wife and Little Walter’s surrogate mother), and was equal parts braggadocio and bitter tears. His turn as an infinitely talented boy whose self-loathing rendered him incapable of accepting the unconditional, parental love Muddy and Geneva offered is so nuanced that you completely forgot you were watching a very familiar archetype of tragedy.
If Short’s Little Walter wasn’t enough of a pleasant surprise, Adrien Brody’s chemistry with Beyonce was another of the film’s high points. Every time he looked at her, his eyes crinkled like a man rendered helpless (and with ol’ girl’s hip-hugging cadre of costumes, is it any wonder?). Even though this likely wasn’t a stretch for the dude who arrogantly slobbed Halle down at the Oscars, Brody played his feelings for Etta with a hat-in-hand humility that almost made his infidelity sympathetic.
And Wright–as the emotional center of the film—infused his Muddy with a resolve that was able to barrel through all kinds of indignity in order never to return to sharecropping. Though his face often flickered with resentment and jealousy (especially in the presence of Howlin’ Wolf and Chuck Berry), his wry demeanor and uncanny intuition often acquitted him quickly.
As you can see, the strengths of Cadillac Records rest solely in its performers’ profound connections with one another. This film deserves multiple viewings, if for no other reason than the meticulousness with which Muddy mourns Walter or the tenderness with which Leonard gazes at Etta.
Don’t get us wrong. Plot-wise, there’s little you haven’t seen before: a once-pretty, now worn wife who puts up with no end of philandering, up to and including, raising another woman’s baby simply because she’s a Good Woman; the deeply troubled apprentice whose entree into a life of booze and blow lead to an early demise; music’s ability to temporarily transcend segregation; a patriarchal White producer getting high off his black clients’ supply (of talent); countless Caucasian musicians capitalizing on underpaid Black artists’ musicianship; and a swaggering chanteuse who futilely hopes her addictions will anesthetize her pain.
Still, go see it. It may be familiar territory, but there’s no reason it should’ve opened ninth—unless times really haven’t changed much since the heyday of payola and paternalism at all….
Carmen Van Kerckhove is co-founder and president of
gatamala wrote:
I stan for Jeffrey Wright and will see this in spite of Beyonce. Hopefully the film really delves into record companies taking advantage of racism for profit.
Posted 29 Dec 2008 at 10:11 am ¶
Monie wrote:
“I stan for Jeffrey Wright and will see this in spite of Beyonce. ” – gatamala
Exactly!
Posted 29 Dec 2008 at 11:27 am ¶
Isabel wrote:
How did I possibly miss that there was a movie coming out featuring both Adrien Brody (my Secret Husband since The Pianist) and Jeffrey Wright, who was so wonderful in Angels in America? Ooh, this is getting added to the to-watch list.
Posted 29 Dec 2008 at 11:28 am ¶
WendyB wrote:
Sigh — I thought this movie could have been so much better. All the actors were awesome (Howlin’ Wolf! Need more Howlin’ Wolf!) but plot seemed disorganized and jumpy to me, racing from one musician to another without giving any of them their due.
But it served to revive my interest in that music, and I thought all the songs used were great ones. CD has come out with the original versions of all the songs in the soundtrack and I’m definitely getting that, rather than the movie soundtrack.
Separately, I disagree that Adrien Brody arrogantly slobbered on Halle Berry.
He jubilantly smooched her for about six seconds. I happened to be in the audience and in person it was such a cute moment, over before we realized it was happening. Something about seeing it on tape (and over and over on tape) made it seem so much bigger than it was.
Posted 29 Dec 2008 at 12:08 pm ¶
Jamerican Muslimah wrote:
“Walker’s Howlin’ Wolf was a formidable presence with an icy glare, a grim smile, and serious control issues. ”
I didn’t see him as having control issues. I thought he recognized the situation with Lenoard Chess for what it was (a tool, a way to make money for his talent) and refused be to sucked into the hype of the cars, the women, etc. I thought he disliked Muddy for that reason; he saw him as boy under the thumb of Lenoard Chess. He didn’t want to be owned.
Posted 29 Dec 2008 at 12:13 pm ¶
Latoya Peterson wrote:
@Jamerican Muslimah –
I agree. It was especially interesting as both Muddy Waters and Howlin’ Wolf came from that same sharecropping (aka system of debt) background and took two totally different approaches to business. I do see where SLB got the control issues though – his treatment of his bandmates and girlfriend hinted at that as well.
One of my favorite parts of the movie is when Muddy can’t bury Little Walter because he’s broke, and Howlin’ Wolf comes with the cash and does his little aside on not having a daddy.
Posted 29 Dec 2008 at 12:20 pm ¶
Monie wrote:
WendyB,
I am NOT a fan of Adrien Brody because of his on-stage assault on Halle. It was arrogant and disgusting.
Posted 29 Dec 2008 at 12:39 pm ¶
Noir72 wrote:
As a long time fan of these artists, I’m a bit leery about seeing this film. (casting Beyonce as Etta James already raised a flag)
However, this post interested me when it mentioned the contrast between Muddy and Wolf. I read a bio on Chester Burnett and was fascinated to learn that despite being raised in poverty, he learned to read as an adult, took business classes, and even afforded the musicians in his band medical benefits (!) It impressed me that in that particular era of sharecropping with the record label, Wolf was never particularly dependent on Leonard Chess for handouts.
This is in sharp contrast to Muddy who was a ladies man and a free-spender. The legend goes that in leiu of paying Muddy for his sessions, Leonard would purchase him a new car. Wolf’s attiude was “give me my money and let me buy my own damn car.”
I’m also a Little Walter fanatic. (he was the first player to amplify his harmonica…a common practice in blues circles today) Stories of his mercurial temprament and troubled life are vast. He was quite a complex man, and I hope this film did his story some justice.
Yet, something tells me to wait for the DVD.
Posted 29 Dec 2008 at 2:43 pm ¶
Madame Zenobia wrote:
I’ll have to rent this feature as its release didn’t make it to my neck of the woods. I admit that initially when I read about Beyonce starring in the film, I was like NO…but then I read Jeffrey Wright, Mos Def and Adrian Brody? Hell yeah, must watch it now…on DVD.
Question to those of you who have seen it: Oscar worthy performances? What of Beyonce? She’s been bucking for an Oscar since Austin Powers Goldmember. What of breakout performances? Columbus Short? Eaamon Walker? I’ve read nothing but great things about these two gentleman. This film seems to have fallen out of the way of Oscar nominations….really, any kind of BIG nominations. Why is that, I wonder?
Posted 29 Dec 2008 at 3:33 pm ¶
angie wrote:
I thought the movie was sooo problematic! What about the way Etta was tragic-mullatoed out. I was rolling my eyes through the whole thing. I am really surprised that you thought he was tender toward Etta.
Also, the black characters seemed like children and Chess was thier daddy.
Posted 29 Dec 2008 at 3:34 pm ¶
Vera wrote:
Monie – I agree 100%, he was very disrespectful.
Posted 29 Dec 2008 at 4:21 pm ¶
Erin wrote:
SLB-
I had a WTF?? moment when I realized that Beyonce was singing Etta James’ songs. I agree…that choice was a mistake.
Guatamala and monie -
I thought Beyonce was pretty weak as Etta James, and, to be honest, I was thoroughly disappointed to hear that she was even cast. She just doesn’t have the chops yet to pull off such a nuanced performance. I did notice that Beyonce is an executive producer on the film, so I suppose that’s why that casting decision was made.
Posted 29 Dec 2008 at 4:23 pm ¶
Squidfly wrote:
Once again, a dozen talented Black women who could have turned in a complex nuanced performance of Etta James are left on the bread line.
Beyonce should stick to what she does best, and that is her 33 1/3 line dance variation of MJ’s Thriller.
Also the House of Dereon makes Lindsay Lohans line of leggins look like Chanel originals
Posted 29 Dec 2008 at 8:13 pm ¶
Meowser wrote:
I really enjoyed this, but then, I am a sucker for music biopics and I took some of the narrative liberties with a grain of salt (where was Leonard’s brother Phil Chess, did they think he just sat in the back and did paperwork?) and rolled my eyes a little at the forced melodrama (you knew Etta James wasn’t going to die because she’s still alive today). Also, the film has Berry doing “Nadine” and “No Particular Place to Go” on a TV show in 1958; those songs weren’t released until 1964. (/music dork hat off)
It was a pleasure to see that milieu brought to life, and the acting (yes Beyonce too) was all good to great, although it was a little jarring to hear the songs rendered by the actors, although they all did a decent job of mimicry; I’ve listened to them so much, Chuck Berry especially, that it felt a little like hearing a K-Tel re-recording that wasn’t quite right. But I suppose they couldn’t have Beyonce in a film and have her lip-sync.
What’s really interesting is that there was another film about the Chess brothers that premiered this year, this one with an largely unknown cast, called Who Do You Love. This film does not have a Chuck Berry character because Berry (who’s 82 and still handles his own business affairs) evidently refused to allow the filmmakers to use his songs (the makers of Cadillac Records evidently had to jump through some flaming hoops to secure rights to their three Berry tunes). But there is a Bo Diddley character; he was conspicuously absent from Cadillac Records. I haven’t seen this film yet as it hasn’t had a commercial release, but I’m looking forward to making the comparison.
(Geffen records has also released an album of the original artists doing the songs that were performed in Cadillac Records, if anyone is interested.)
Posted 30 Dec 2008 at 3:20 am ¶
Fatemeh wrote:
I love me some Adrien Brody. Yum.
But I agree with SLB’s post here. It was a pretty good movie despite all the little things, and I was humming Etta James’ “All I Could Do was Cry” for days afterwards.
Posted 30 Dec 2008 at 1:08 pm ¶
Michelle wrote:
What worries me is that Beyonce Knowles gets credit for being better than she was in her previous films. Her acting has gone from being below average to being somewhere around mediocre.
I think that she is an exceptionally beautiful, talented young woman who has so many wonderful things ahead of her. However, I think that it is very important to continue to fertilize and cultivate talent in many different genres, acting included. Looking at Cate Blanchet and Kate Winslet, I worry that actresses of color, especially Black actresses, are not being cultivated to be on par with those kinds of actresses.
Does anyone think that Beyonce Knowles is as good an actress as Kate Winslet or Anne Hathaway? Do we think that she ever be that good? And if you think that she will, do you have any guesses as to how long that will take?
Watching Taraji Henson, I would guess that if she had been given the opportunity to play Etta James, it would have been truly inspired. I am glad that she is getting her due in The Curious Case of Benjamin Button.
Posted 30 Dec 2008 at 4:54 pm ¶
CVT wrote:
I kind of agree with Wendy B. here. The movie is worth seeing, but it jumps all over the place, never really landing in one spot long enough (or one musician long enough) to really FEEL it. Still – it was entertaining, and I learned some things I didn’t know before.
Posted 30 Dec 2008 at 6:44 pm ¶
Taryn wrote:
I’m wondering why people say such nasty things about Beyonce. I as a bi-racial women find some of the things people keep saying about her so offensive and really saddens my heart. It sucks to be called a tragic mullato. Been called that and a myriad of other horrible things. And guess what it’s by both sides of my heritage, black and white treat me with so much disrepect. Granted I don’t think anyone ever should re-do Etta songs. But really was it that horrible? I understand that Beyonce isn’t an outstanding, amazing actress, but I don’t think that talking all this shit about her does OUR people any good. Let’s try to uplift our own and stop being so damn negative.
Posted 30 Dec 2008 at 11:28 pm ¶
Michele wrote:
This movie has basically flopped at the box office. I think very poor advertising choices were made. The advertising for the film pushed Beyonce as the star of the film and made it look like the Etta James story. Maybe Hollywood will finally realize Beyonce has no box office appeal and realize Dreamgirls had a built in audience. I don’t think I saw Gabriel Union in one ad for this movie. I think its a shame the way black actors get pushed aside for singers and rappers with very little acting ability. If the movie about Tina Turner were made today Beyonce would be cast as the leading lady. I read online that Beyonce was going to star as Eartha Kitt in that biography.
What in the hell is going on in Hollywood. White pop singers don’t dominate the movie screen at all. No one is pushing Reese Witherspoon out of movies and casting Avril Lavigne because she sold some cds. In the Johnny Cash biography real actors were cast and not some hot right now pop star.
Posted 31 Dec 2008 at 12:00 am ¶
Mere wrote:
” …Adrien Brody’s chemistry with Beyonce was another of the film’s high points. Every time he looked at her, his eyes crinkled like a man rendered helpless (and with ol’ girl’s hip-hugging cadre of costumes, is it any wonder?). Even though this likely wasn’t a stretch for the dude who arrogantly slobbed Halle down at the Oscars…”
What do you mean? What connection does the Halle Berry kiss have with Beyonce in this movie?
I would think it’s not a stretch for him because Beyonce is freaking gorgeous.
I hate this idea of being attracted to/not attracted to an entire “race” of people.
Posted 31 Dec 2008 at 2:56 am ¶
Michele wrote:
Taryn,
Beyonce is not biracial.
Posted 31 Dec 2008 at 8:37 am ¶
Squidfly wrote:
Taryn,
Just because you have an opinion about a performer-Beyonce-has nothing to do with the entire ‘race’ We’re not a monolith. For example I really don’t want to see P Diddy playing John Coltrane or Paul Robeson…
Posted 31 Dec 2008 at 1:16 pm ¶
Taryn wrote:
Thank you for your feedback. I know that Beyonce is not bi racial. I am not speaking for the entire race, that would be idiotic. I am only speaking from my point of view and my experiences. I also don’t have a hard on for Beyonce,
it just seems that people want to continually say negative things about people of colour, and it just gets a little old. I don’t think she is amazing personally. My point was simply was, let’s put out more positive. I always tell the children I work with, when you spit out negative to the world it comes back to you, when you spit out positive that comes back to you.
Cheers
Posted 01 Jan 2009 at 12:23 am ¶
Michelle wrote:
Co sign Michele!
Posted 02 Jan 2009 at 3:52 pm ¶
Bo wrote:
This movie is only one sided. I’m sick of african americans claiming they started rock n roll. Don’t get me wrong their contribution to the genre is without saying but lets give credit where credit is due. During the slave era the music of the south was brought over from the culture of the scottish/irish people. The first forms of the art what became bluegrass and hillbilly music. The slaves use to mimic what they heard and use to sing it in the fields.
Posted 03 Jan 2009 at 8:36 pm ¶
c.n. edaw wrote:
My actor uncle said this movie was awful and that it shamefully glossed over a lot of things about this time in history that could have made it a riveting film and educational experience–especially since so few of the current young generation (who may have watched due to the casting of Beyonce and Mos Def–I’ll get to my opinion on that soon) really know the history of music, particularly the racial aspect. So many young people have heard these songs in some form and have no idea who the original artists were and why they may not have gotten their due.
I love Beyonce as a dance music/hip hor/r&b artist and to a lesser extent as a style icon ( great for drag queens but sometimes a little garish for such a pretty woman) HOWEVER I don’t think she is an actress. Let’s be real. In interviews it often appears she struggles to speak intelligently; that’s the first clue she may not be inclined toward acting. Most actors express themselves well verbally as well as physically.
And I do think it’s a terrible shame that a lot of black actors, like my uncle, study their craft for years and these parts go to singers and rappers. There are established black actors who would have killed this role and even an unknown might have been the way to go.
And wasn’t Etta James biracial? Wouldn’t this have been an opportunity for some biracial actress to pounce on? Just saying. Still need to see it; but my enthusiasm was already doused when I heard Beyonce was playing Etta and the reviews from friends have not made me rush to the theatres.
Posted 03 Jan 2009 at 11:52 pm ¶
Michelle wrote:
Etta James being bi-racial is entirely debatable. After doing some research, and according to the film it seems that her paternity was never truly verified. That said, since she was raised by a Black woman during the pre-Civil Rights Movement and since she looks Black, I think that it was entirely proper to hire a Black woman to portray the pathos of being a Black woman during that time.
However, I do agree that someone with the training and/or chops of Meryl Streep, Viola Davis or Jeffery Wright would have been the best overall choice. After all, the male actors were all actors and fine actors at that. Even Mos Def, who actually became a rapper to further his acting career. I wouldn’t say that he is classically trained, but Mos Def has worked on the craft of being an actor prior to becoming a rapper.
Posted 04 Jan 2009 at 3:41 am ¶
allheavens wrote:
I think the film did a disservice to an era that was ripe for the picking, film wise. It could have shown a light on a great record label with great artists; on how publishing rights and creative credit were routinely stolen by management and how the music of Black artist was routinely co-opted by white artist of the era.
This film was all over the place, played fast and loose with the facts and had too many story lines. If it had stuck to the Muddy Waters and Little Walter storyline and their relationship with Chess Records and the Chess brothers it would have been a more compelling film.
As for Beyonce, well home girl has been trolling for an Oscar since Dreamgirls, all I can say is she needs to look no further than Diana Ross’ failed Oscar campaign for her performance in Lady Sings the Blues. I know Berry Gordy orchestrated the campaign but she let him. The lesson is, it’s alright to want it but to lust after it in an obviously calculated manor is highly distasteful to the new and old Hollywood guard.
The two most common ways to win an Oscar.
1. Toil in the fields for a respectable period of time building your resume, find that great role and if you are not too offensive or well-liked you will be rewarded, or
2. Rags to riches, there is nothing like an underdog (i.e., Jennifer Hudson) or a comeback (i.e., Mickey Rourke, looking for a nomination for The Wrestler any day now)
Unfortunately for Miss Knowles she doesn’t qualify as either.
Posted 04 Jan 2009 at 4:37 pm ¶
Michelle wrote:
allheavens,
You are really funny! And very, very right!
Posted 04 Jan 2009 at 5:05 pm ¶
banjiboi wrote:
I, too, have a similar bone to pick with Beyonce’s unabashed trolling for an Oscar. Full disclosure – I haven’t seen Cadillac Records, but it’s definitely on my Netflix cue.
@ allheavens, c.n. edaw and Michelle:
Thanks for hitting the nail on the head.
Here’s my take on the Beyonce “phenom”
http://beezospureandsimple.blogspot.com/2008/11/are-you-beyonc-stan.html
Posted 06 Jan 2009 at 4:41 pm ¶
Free wrote:
@Michelle – Does anyone think that Beyonce Knowles is as good an actress as Kate Winslet or Anne Hathaway? Do we think that she ever be that good? And if you think that she will, do you have any guesses as to how long that will take?
Not everyone can act and Beyonce is just one of those people. She too self-conscious, concerned with image – in other words, always playing herself. Kate Winslet comes from a family of actors and attended theater school. Anne Hathaway has been acting since high school. They are women with a life-long dedication to their craft. With Beyonce I’m always left with the impression that acting is just another revenue stream and an Oscar to increase the cash account. I’ll see this movie when it’s on DVD and thank goodness for fast forward.
Posted 08 Jan 2009 at 1:06 am ¶
Michelle wrote:
@ Free
That’s my point. I think that there are people out there who dedicate themselves to their craft. Much like Beyonce has dedicated herself to the craft of stardom/celebrity/performer. She deserves all the credit in the world. I think that the same respect should be allowed for the craft of acting. There are people who spend their lives working on the craft and I wish the world could see more of the Black women who have that dedication to what it is to be an actor.
Posted 08 Jan 2009 at 6:01 pm ¶
Free wrote:
@Michelle – Agreed.
Posted 08 Jan 2009 at 9:02 pm ¶
sweetpea wrote:
Hey Bo (post#25)
Your comment has not gone unoticed.
So, you think that Scot-Irish created Delta Blues, which was the predecessor to Rock n Roll?
Yes, southern gospel and call-and-response hymns have some roots in Scotland and Ireland, but don’t forget that slaves own African heritages and cultures play an integral part in the creation of gospel. Former slaves took it to another level and the result was Delta Blues…Blind Willie, Robert Johnson, Sun House and others…. all black by the way.
The Scots/Irish went in another direction using thier folk songs to create the so-called hillbilly music.
In regard to who ‘invented’ Rock n Roll, historians have credited Ike Turner’s
Rocket 88 as the “First Rock n Roll song.”
I hear no hillbilly or rockabilly in Rocket88.
Posted 09 Jan 2009 at 2:21 am ¶
Shanece wrote:
I think Beyonce did a wonderful job in the role she was casted for. People seem to want to bash her for her success in the music industry. She has taken great strides away from her cheesy role in Austin Power’s “Gold Member.” The film may have flopped at the box office but only because the film wasn’t even released in alot of places. I live in WV and the movie didn’t come here at all. Not many black films make it here. Being a Massachusetts native this is very wrong to me. But I loved it, Beyonce did a wonderful job.
Posted 11 Jan 2009 at 12:38 pm ¶