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Why Netflix s Ma Rainey s Black Bottom ends with a scene that s not in the play | Arts & Entertainment
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Why Netflix s Ma Rainey s Black Bottom ends with a scene that s not in the play | Tribune
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Ma Raineyâs Black Bottom is a 1982 play â one of the 10-play Pittsburgh Cycle by August Wilson â that chronicles the 20th-century African-American experience. Following on from Denzel Washingtonâs Fences, itâs the second play from that cycle to be adapted, not entirely convincingly, for the screen.
Historically, Rainey was the âmother of the bluesâ, a big, brassy, gold-toothed, openly bisexual performer who learned her trade in black minstrelsy and vaudeville before signing a deal with Paramount Records in 1923. The ever reliable Viola Davis brings plenty of outrageous heft â quite literally when one factors in her weighty buxom bodysuit â to Ma, who, as the play opens, is late for a recording session of the song that gives the film its title.
Ma Rainey’s Black Bottom review: Chadwick Boseman’s last and finest performance Clarisse Loughrey © Provided by The Independent
Dir: George C Wolfe. Featuring: Viola Davis, Chadwick Boseman, Glynn Turman, Colman Domingo, Michael Potts. 15, 94 mins
When Chadwick Boseman rages against an unjust God, in the climax of
Ma Rainey’s Black Bottom, it strikes like thunder. The moment serves as the emotional fulcrum of August Wilson’s play, here adapted for the screen by George C Wolfe – part of Wilson s “Pittsburgh Cycle”, a series of works documenting Black life over the 20th century.
Ma Rainey’s Black Bottom is the only entry set outside of Wilson’s native city, taking place in Chicago, in 1927. Boseman plays Levee, a cavalier trumpeter hired to record a few popular hits.
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The following story contains spoilers from the movie “Ma Rainey’s Black Bottom,” now streaming on Netflix.
The final frames of
Netflix’s “Ma Rainey’s Black Bottom,” adapted from two-time Pulitzer Prize winner August Wilson’s 1982 play, show a dozen or so white men performing in a recording studio. The instrumentalists appear dull and unfeeling; the singer’s delivery is dry. The trumpet solo, meant to be the song’s standout riff, feels particularly hollow, void of charisma. Yet above them the producer nods, pleased with what he hears.
The scene, which is only a minute long, isn’t in the original play. But witnessing this bland rendition of the vibrant song that Levee, Chadwick Boseman’s talented trumpeter, has been practically coerced to give away punctuates the heartbreaking saga of
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