![]() Even though it addresses these things, I could have used a stronger analysis and more depth here, as well as a more accurate portrayal of the characters and the history, but that's just the nitpicking historian in me. Besides providing the story for Leonard, his label, and some of the people who recorded for him (and what a lineup it was!), the film does also give insight into the racial tensions of the era and the legacy of the blues, R&B, and soul. ![]() It's not a musicla per se, but musical performances do make up a good chunk of the running time. As it turns out, this film isn't the only one to tackle this subject, though I am unfamiliar with the other versions.Īll in all, this is a pretty decent film, and, as I opened this review with, it is quite entertaining. It's a story that definitely is worthy of being told cinematically. This is a thoroughly enjoyable, though heavy fictionalized film about the story of Leonard Chess and Chess Records- the legendary and influential man and label responsible for creating the "electric" blues scene in Chicago from the early 1940s-late 1960s. Overall, the plot of this film doesn't do a lot - an odd combination of social commentary about 50s race relations and interpersonal affairs - but those of you who like the origins of rock n roll might find the performances, if not the story, compelling. ![]() I thought they were good, but I'm not a great judge. In the end, Cadillac Records is a music film, with the race relations subplot only tangential, so whether or not you like this film with depend upon whether you like the musical performances by Jeffrey Wright as Muddy Waters, Mos Def as Chuck Berry, and Beyonce Knowles as Etta James. That is the only discernible advantage that Leonard Chess (Adrien Brody) has over others, yet we don't know enough about Chess or why he is as he is.Ī commonality among these characters is their penchant for extramarital sex, but Chuck Berry's prison sentence notwithstanding, this behavior doesn't make a plot-driving point or a matter of serious conflict. I suppose the lesson of this biopic is that when one isn't racist in a racist world, one stands to benefit. This film only played out for a couple of weeks before it ended up as a 2nd string, budget line feature (does that tell you something?).A white record producer signs African-American musicians, and together the foundations of rock n roll are formed. Some of the rest of the cast just seems wasted in this half baked attempt of telling the story of Blues music. Jeffrey Wright has some nice screen time as Muddy Waters. Adrian Brody,who normally pulls down some world class roles seems content to be the closest thing to a used car salesman (while spouting a nearly non stop,fire cracker string of swearing out of his mouth). A friend of mine who knows his onions in the field of creative African American/Black music told me of a lot of the glaring omissions that was left out of this film (there were actually two Chess brothers that ran the label),as well as the fact that several Rhythm & Blues,Rock & Roll & even Jazz acts also recorded for Chess Records,back in the day. It seemed to content that Chess Records only had about a handful of talent recording (Muddy Waters,Howlin' Wolf,Etta James,while totally ignoring Bo Diddley & the stable of other equally talented musicians & song writers). The film's writer/director obviously didn't do a whole lot of home work in looking for historical authenticity. ![]() The main problem is that Hollywood can always be counted on for totally screwing up any & all forms of social history (and fumbles the ball,big time as usual). 'Cadillac Records' is an admirable attempt to tell the tale of the legendary Chess Records,which did for Blues what Atlantic Records did for R&B/Soul,Jazz,Rock & Roll,etc.
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