Thescreescore – The highly anticipated Michael Jackson biopic, ‘Michael,’ starring the King of Pop’s nephew, Jaafar Jackson, is set to transport audiences through the legendary artist’s formative years. However, as details emerge, fans are buzzing about the deliberate absence of several iconic tracks from its soundtrack, a creative decision that director Antoine Fuqua and producer Graham King have now illuminated. Their insights, alongside comments from actor Colman Domingo, shed light on the intricate process of curating the musical landscape for a film chronicling one of music’s most prolific figures.
The narrative arc of ‘Michael’ meticulously traces Jackson’s ascent from his early days as the captivating lead of the Jackson 5 in the 1960s and early 70s, through his groundbreaking emergence as a solo phenomenon in the late 70s and early 80s. The film culminates with the monumental 1984 Victory Tour, marking Jackson’s final performances alongside his brothers. This precise chronological framework inherently dictates the musical selections available for inclusion, explaining why many later-era anthems couldn’t make the cut.
Producer Graham King, a driving force behind the project, candidly explained the complexities of curating the soundtrack. "There’s no question," King stated in an interview with Liam Crowley for thescreescore.com, acknowledging the vast catalog of hits. He elaborated on the challenge: "Underscoring, using Michael’s catalog to underscore wasn’t as easy as we thought going in because the lyrics don’t match the scene. So it became more instrumental, worked better with his catalog." This reveals a deeper artistic consideration beyond mere popularity, prioritizing narrative cohesion over a comprehensive discography.
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Consequently, while fans will revel in the inclusion of thirteen beloved tracks—ranging from Jackson 5 classics like "I’ll Be There," "ABC," and "Ben," to solo chart-toppers such as "Beat It," "Billie Jean," and "Thriller"—many later-era anthems found themselves on the cutting room floor. Hits from the Dangerous album, along with fan favorites like "Man in the Mirror" and "Rock With You," were deemed unsuitable due to the film’s chronological boundaries. Interestingly, "Bad" from the eponymous album makes a fitting appearance at the film’s conclusion, serving as a symbolic bridge to Jackson’s subsequent era.
Colman Domingo, who portrays the formidable patriarch Joseph Jackson, offered a glimpse into the creative discussions, recalling a desire to include the Jacksons’ "Philly International moment" with Gamble and Huff, a period marking their transition from Motown. Director Antoine Fuqua also fondly recalled "We’re Almost There," highlighting the team’s deep appreciation for Jackson’s entire body of work, even the "deep-cut tracks" that ultimately couldn’t be woven into the narrative due to the film’s specific timeline and lyrical congruity requirements.
Beyond the musical selections, ‘Michael’ has garnered attention for its narrative focus. While the film has faced criticism for its 35% Rotten Tomatoes score, largely attributed to its decision to sidestep the more controversial aspects of Jackson’s later life—allegations that mostly fall outside the biopic’s chosen timeline—it aims to foster empathy. The screenplay, initially penned by John Logan, reportedly contained content addressing these "sordid aspects," but the final cut prioritizes a celebratory portrayal of Jackson’s early and prime years. Despite critical reception, the biopic is poised for a blockbuster global opening, projected to hit $150 million, signaling a strong fan response to this resurrection of the King of Pop’s unparalleled musical legacy.
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