‘Ma Rainey’s Black Bottom’: Viola Davis & Chadwick Boseman Sparkle In A Musical Tale Of Ambition & Survival [Review]

As one of America’s most respected playwrights, most people are familiar with August Wilson’s popular play “Fences.” Viola Davis and Denzel Washington (alumni of Wilson’s theater work), starred in that film adaptation from 2018. “Ma Rainey’s Black Bottom,” another play in Wilson’s Pittsburgh Cycle series, gets the adaptation treatment from director George C. Wolfe.

The Black experience in America during the 20th century was often the subject of much of Wilson’s work, unapologetically so about catering to that demographic. At the center of “Ma Rainey’s Black Bottom” is Rhythm and Blues, and how music exposes the vulnerability of the characters, and how they deal with that harsh exposure under the boot heel of white supremacy.

‘Ma Rainey’ starts in the 1920s with a montage of various performances by the queen of blues Ma Rainey (Viola Davis). Immediately, the tension between Rainey and one of her temperamental band members Levee (Chadwick Boseman, in his final screen performance) is noticeable. The ambitious Levee wants what she already has: the spotlight. They are scheduled to record an album of songs in a Chicago studio run by the penny-pinching, Sturdyvant (Jonny Coyne). Session musicians Cutler (Colman Domingo), Slow Drag (Michael Potts), and Toledo (Glynn Turman) show up first to practice as Irvin (Jeremy Shamos), Ma Rainey’s manager, waits anxiously for her delayed arrival. Levee shows up and slows things down, things begin to unravel before they start recording music.

Slow Drag plays the bass and just wants to finish and go home. Toledo plays piano and speaks philosophically about race in America and how no one cares for the Black man. Trombone player Cutler is a religious man who is loyal to Ma Rainey and does his best to keep the peace. Levee doesn’t play well with others and does his best to rattle the group while he exclaims he’s on his way to success and doesn’t them or anyone else. Once Ma Rainey shows up, all hell breaks loose as she and Levee compete for the title of biggest diva in the room. It seems comical until you remember this is an August Wilson play, where there is always one character that ominously reveals a bigger truth in the play’s early turning point moment. You have to listen closely, lean in, or you’ll miss it.

Everything hinges on the song “Ma Rainey’s Black Bottom.” The song creates so much tension infighting, and division within this small group of people, it’s the clear antagonist of the story, not Ma Rainey, or anyone else for that matter. Ma Rainey isn’t likable at all. However, in a scene with Colman Domingo, she explains why. To her, music is real life, so she channels all of her thoughts and feelings into it. “They gonna treat me the way I want to be treated. Once they get what they want from me, I won’t matter.” The message is clear: as a Black woman in the 1920s, you must be abrasive and harsh as a means of survival. Once white patriarchy gets what it wants out of you, you no longer have value—so might as well enjoy things in the moment.

Levee shares those same succeed-or-die-trying-traits as Rainey which is exactly why they clash. The difference, Ma Rainey has the success Levee wants, but he’s too trusting of the (white-controlled) system while claiming he knows exactly how to maneuver those in charge to get what he wants. When you’re Black, that type of thinking is dangerous.

The characters guide the story from one plot point to another. Each character is strong and plays an intricate part of the ensemble no matter how big or how minimal the role. A hallmark of August Wilson’s work is cracking dialogue exchanges and in “Ma Rainey’s Black Bottom,” there are very few pauses. Listening and watching make the brain work fast to catch up. It flows so naturally, being a viewer feels like an intrusion. This can be attributed to Wilson’s innate understanding of the Black experience in America. The mannerisms, the tone, AAVE (African American Vernacular English) of the time — he knows how to tailor this to a Black audience while simultaneously making the bits digestible enough for everyone else as well.

Director George C. Wolfe makes this equal parts cinematic and equal stage play. Wolfe is a playwright and theater director and his expertise aids him with blocking, staging, movement. He clearly doesn’t want the viewer to forget we are watching a play. The composition of each scene is super framed giving the audience an intimate look at this ensemble cast who complement each other with unparalleled chemistry.

Viola Davis has never shied away from unlikeable roles, and with ‘Ma Rainey,’ she leans in hard yet again. Adding a dose of extravagance and camp, Davis might be saucy, but she’s having fun and her performances leap off the screen. Domingo is so ripe to be a leading man. He’s had a slew of supporting roles where he exceeds expectations, and this film is no exception. Domingo dazzles with leading man qualities, so it’s time for Hollywood to start casting him accordingly. In the last film role before his death, Boseman is extraordinary as Levee. He brings the drama, the trauma, and is the heart of the story. His energy is powerful, undeniable and his commitment to cinema will never be forgotten.

“Ma Rainey’s Black Bottom” is bleak, as are many of August Wilson’s stories. But, being Black in America is a serious, and often, unforgiving business. Constantly navigating through a system that hates you weighs heavy on the spirit and this psychic toll is what ‘Ma Rainey’ channels best, throughout the movie, and throughout the soulful, pained performances. ‘Ma Rainey’ uses blues music as a means of expression because she knows that it’s not just about music, but it’s a survival tool—a means to tolerate daily life under white oppression. ‘Ma Rainey’ is dynamic, vibrant, and extravagant, and will hopefully not only revive interest in Wilson’s work, but remind people “Fences” is not the only firecrackers that exist in his insightful arsenal. [B+]

“Ma Rainey’s Black Bottom” arrives on Netflix on Dec. 18.