With such notable portrayals, the film's formulaic flaws are all forgiven, and the audience will walk out humming the tunes. Crnica del auge en los aos cincuenta en Chicago de la casa de discos Chess Records, que en unos aos turbulentos grab discos de leyendas de la msica negra como Muddy Waters, Leonard Chess, Little Walter & Howlin’ Wolf, Etta James y Chuck Berry. Even Knowles, looking spot-on as the frosted-haired James, proves she has some acting chops hidden beneath that gorgeous, impenetrable persona. ![]() Eamonn Walker is a commanding scene-stealer as scary, sexy, gravelly voiced bluesman Howlin' Wolf Columbus Short should propel himself into his first leading role after his remarkable turn as Waters' protégé Little Walter and Def is hilariously perfect as charismatic, duck-walking Berry. ![]() Wright nails every role he's in, and his Muddy - the bluesmen who "sings about pain but doesn't live it" - is just one more example of why he's one of the most versatile actors working today. Led by Brody and Wright, the cast is truly superb (the only weak link is Cedric the Entertainer's underwhelming narration). The soundtrack includes killer renditions of classics like "At Last," "Mannish Boy," "Maybelline," "Smokestack Lightning," and "No Particular Place to Go." But despite director Darnell Martin's creative liberties (in real life, Chess had a brother named Phil, and the Chess lineup included other key players who are completely missing from the film, most notably Bo Diddley), a collection of standout performances transforms a standard genre timeline of milestones into a fast, funny, and even thrilling ride down musical lane. NC-17 – No one under 17 admitted.As a story, Cadillac Records is as melodramatic as every other rags-to-riches, Behind the Music tale of tortured musicians. Under 17 requires accompanying parent or adult guardian. Some material may be inappropriate for young children. PG-13 – Special parental guidance strongly suggested for children under 13. In this tale of sex, violence, race, and rock and roll in 1950s Chicago, 'Cadillac Records' follows the exciting but turbulent lives of some of Americas musical legends, including Muddy Waters, Leonard Chess, Little Walter, Howlin Wolf, Etta James. Some material may not be suitable for children. Motion Picture Association of America rating definitions: Adrian Brody, Jeffrey Wright, Cedric the Entertainer, Mos Def, and Beyoncé Knowles star in Cadillac Records, a film following the turbulent lives of some t. “Cadillac Records,” a Sony Music Film release, is rated R for pervasive language and some sexuality. That probably wasn’t the intended effect. ![]() In fact, the music is often so good, with classics including Waters’ “Hoochie Coochie Man” and Berry’s “No Particular Place to Go,” that “Cadillac Records” makes you long for a documentary on the subject instead. The music itself is the most reliable star of all Knowles does knock it out of the park a couple times, particularly on James’ signature song, and Mos Def is insanely charismatic as Berry, though he doesn’t appear in the film nearly as much as the ads would lead you to believe and when he’s gone you want him to come back. ![]() No amount of wigs and padding can transform her. She also shows us the racism of the time – which Chess earnestly, persistently tries to break through by bringing blues and R&B to a mass audience – with facile platitudes and hand-holding voiceover provided by Cedric the Entertainer.Īs songwriter Willie Dixon, Cedric tells us things that are already obvious, things we’re already seeing for ourselves: that these performers were hooked on music, women and cars (namely Cadillacs, hence the title), on the flashy lifestyle talent and stardom afforded them.Ĭolumbus Short gets some amusing moments as volatile harmonica player Little Walter, but Gabrielle Union gets too little to do as Waters’ initially supportive but ultimately put-upon wife (yet another cliche in this type of movie, for those of you keeping score at home).Īnd Beyonce Knowles doesn’t seem to have splurged on acting lessons since her wooden turn in “Dreamgirls.” From the second she enters the film as the tempestuous James, you want to see her sing “At Last,” then get out. Certainly there must be a better, fresher way to tell this familiar tale.ĭespite the glimmers of potential for typically strong work from Jeffrey Wright as Waters, Mos Def as Berry and Adrien Brody as the label’s founder, Polish emigre Leonard Chess, Martin too often gives them too little of substance with which to work. It’s all here, over and over, just as you’ve seen it countless times before: the early struggle, the rise to the top (accompanied by the obligatory montage of press clippings and positions on the Billboard chart), the waste of fame and talent with various controlled substances.
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