Inside Pulse Review – Ray

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Credit: www.impawards.com

Director:

Taylor Hackford

Starring:

Jamie Foxx……….Ray Charles
Kerry Washington……….Della Bea Robinson
Regina King……….Margie Hendricks
Sharron Warren……….Aretha Robinson
Curtis Armstrong……….Ahmet Ertegun
Richard Schiff……….Jerry Wexler
Warwick Davis……….Oberon
Larenz Tate……….Quincy Jones

Universal Pictures presents the film Ray. Screenplay and story by James L. White. With a running time of 152 minutes. Rated PG-13 for depiction of drug addiction, sexuality, and some thematic elements.

The basic underpinning for any film is the story. Whether it is a big-budget action flick with superheroes in elastic clothing or a biopic with a musical genius, the story arouses several emotions. It’s funny that biopics mimic the origin stories of comic book superheroes.

Skeptical? Look at the facts. Ray Charles, like Matt Murdoch (Daredevil) or Peter Parker (Spider Man), overcomes a personal tragedy and develops an uncanny ability, which is beyond those of ordinary people. Then, after prevailing over inner demons or insecurity, he decides to use his newfound power for good.

At the age of five Ray witnessed an unfathomable event, the washtub drowning death of his brother. Two years later he was blind. This scenario leads to a slew of vivid hallucinations throughout the film. It also allows the viewer to toy with numerous “what if”-type questions. Like, would life have been different for Ray if he was blind prior to his brother’s drowning? Or, if he hadn’t gone blind, would Ray have become the accomplished musical entertainer that he was?

In Ray, director Taylor Hackford (An Officer and a Gentleman, The Devil’s Advocate) chronicles Charles’ life from his birth in 1930 until 1966, the year in which he overcomes his heroin dependence. The film opens in the year 1948 in North Florida as Ray waits at a bus stop. He is trying to get on a bus to Seattle. The bus driver has one of those “I don’t want him on my bus” expressions but Ray coerces the driver into letting him ride. He tells the driver that he lost his eyes in combat. Ray’s cleverness is a trait that gives him a much-needed advantage on occasion (like contract negotiations).

Flashbacks are a prevailing occurrence in Ray. As the film progresses, flashbacks show how the musician coped with the fact that he was blind. His mother (played by the astounding Sharon Warren) was tough and strong spirited. She instilled that toughness and spirit in Ray at an early age, making him promise to “never let nothing or nobody turn you into a cripple.” (It should be noted that Ray was never prone to use a walking cane or guide dog. Now that’s uncanny–super human even.)

Unless you have lived under a rock you would know that the most talked about acting performance this year is the work of Jamie Foxx as the famed musician. It definitely lives up to the hype. Jamie Foxx gives a very enthusiastic, Oscar-worthy performance as Ray Charles. All the nuances are there. The body language–touching the wrists of women to judge their figure–and hitting the choreography of Ray Charles is perfectly executed. Physically, Jamie Foxx is “the” Ray Charles. Watching the film you lose sight (no pun intended) of how much Foxx resembles the musician and begin believing he is Ray. Indeed, Foxx provides the body; but the music is the heart and soul of Ray.

Ray Charles was a maestro when it came to music. He successfully fused gospel with rhythm and blues. He also excelled at blues, jazz, and country; and showed that those genres could be “pop” music friendly. He established his sound in a seedy Seattle nightclub emceed by a dwarf named Oberon (Warwick Davis). While in Seattle he had a chance encounter with a teenage Quincy Jones (Larenz Tate). The film downplays the friendship the two had, but it certainly is one of the crucial events of Mr. Charles’ life.

Becoming discontent as the pianist for some town circuit music group, Ray quits and branches out on his own. By then his fate was in his hands. Sure, he could mimic the sounds of Nat King Cole, but it was two producers at Atlantic Records, Ahmet Ertegun and Jerry Wexler (Curtis Armstrong and Richard Schiff), who made Ray Charles find his own voice. Other events chronicled include his defection to ABC Paramount, and his battle against segregated concerts in the state of Georgia.

If Ray’s super power is his piano playing ability, then his Kryptonite was his addiction to drugs and women. Even when he was married to Della Bea (Kerry Washington), he would cheat while on the road. James L. White’s screenplay doesn’t downplay or sugarcoat Charles’ infidelity or drug problems. Ray had long-standing affairs with Ann Fisher (Aunjanue Eliis) a blues singer and backup group singer Margie Hendricks (Regina King) among others. Because of the film’s length only these two affairs were shown. In reality the musician fathered 11 children with seven different women.

Jamie Foxx may get all the praise for his performance as Ray Charles, but the supporting players do an admirable job as well. How about the reemergence of Curtis Armstrong as the Turkish music producer Ahmet Ertegun? He was big in the early 80’s creating such memorable characters as Dudley “Booger” Dawson in Revenge of the Nerds and Charles De Mar in Better Off Dead. Armstrong breaks new ground with his small role as Ertegun. No longer should he be considered a nerd.

The women in the life of Ray Charles all give great performances, especially Regina King. She played the loving wife of wide receiver Rod Tidwell in Jerry Maguire, but she reinvents herself as singer Margie Hendricks. The manner in which she transforms from Margie “luminous backup singer” to Margie “mean-spirited alcoholic” is startling. Without doubt the breakout role King has been waiting for.

Even though the film runs two-and-a-half hours, it feels much, much shorter. With another thirty minutes characters could have been fleshed out a bit more. It’s not a major concern, though. Within the allotted time we see Ray Charles for what he was: an amazing human being who was troubled, soulful, and a certified genius.

Travis Leamons is one of the Inside Pulse Originals and currently holds the position of Managing Editor at Inside Pulse Movies. He's told that the position is his until he's dead or if "The Boss" can find somebody better. I expect the best and I give the best. Here's the beer. Here's the entertainment. Now have fun. That's an order!