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Mr. Dynamite

Audiences have been inundated with a slew of musical biopics in the last 10 years. As brilliantly parodied in 2007's "Walk Hard", these films tend to follow a formula: a star at the height of his career, flashes back over his life, beginning with a tragic childhood in the Depression-era South. Next, comes the roller coaster of successes and failures, punctuated by drug use, ignominy, irrelevance, then finally, redemption. While "Get On Up," the new film about the life of James Brown, doesn't stray from this formula, it often transcends it, thanks to inspired performances by star Chadwick Boseman and a talented supporting cast, and to Brown's music, as infectious and electrifying as ever.

In one scene early in Brown's career, a record executive expresses his frustration that "Please, Please, Please" is a song without a hook, chorus, or verses. In response, he's told, "it's not about the song." The same could be said for the film. It's really not about the story. It's about the groove - the essence of James Brown. Despite a disjointed narrative that plays fast and loose with the facts, the film is firmly anchored by Chadwick Boseman's mesmerizing portrayal of Brown. He doesn't merely master Brown's signature dance moves, or his raspy voice, he creates a character as entertaining, exasperating, driven and unpredictable as the man himself.

The film's opening scene illustrates Brown's erratic later years. Set in 1988, just before his infamous incarceration, a tracksuit-clad Brown calmly pulls a shotgun on group of businesspeople he suspects of using his private bathroom in his office next door. It's a fictional scene played for comic effect, but it does a great job in establishing who Brown is: uncompromising, unconventional, and a little unhinged.

From there, the narrative ping-pongs between time periods: His humble childhood in Georgia and abandonment by both his parents; his formative years as a buck-dancer and gofer in his aunt's brothel; his exposure to gospel music and early brushes with the law; finally, establishing himself in the music business. These scenes serve mostly to give impressions of James Brown's history and development, rather than explore his life in-depth. The real story is told in the performance scenes - of which there are many - and in Brown's relationship with his long-time (and long-suffering) friend and bandmate, Bobby Byrd (Nelsan Ellis of "True Blood"). Bird acts as Brown's conscience, while the performance scenes represent Brown's genius.

Director Tate Taylor ("The Help", "Winter's Bone") devotes much of the film's 138-minute running time to highlighting Brown's charismatic stage performances and his development as an exacting band-leader and industry pioneer. From his early days on the chitlin circuit with The Famous Flames, sharing (or stealing) the spotlight with artists like Little Richard and The Rolling Stones to mainstream success, we see how Brown moved from being the front man to being the main man - "Mr. Brown". In a great scene, saxophonist Maceo Parker (Craig Robinson) challenges Brown's rhythm direction on a new song as being "unmusical." Brown counters with, "Does it sound good? Does it feel good? Then it's musical." Brown is right, of course. The song turns out to be "Cold Sweat" - heralding the birth of funk.

As Brown's star rises, we see his conflicts with his band and interpersonal relationships, as well as his discomfort with being positioned as a spokesperson for the African-American community during the turbulent 60s. Brown is a man of contrasts - extremely disciplined but erratic. An astute businessman who ended up deeply in debt. Boseman is able to convey all of this while also providing some of the best comedic moments in the film. Boseman often breaks the fourth wall, making comments and asides to the audience. As if James Brown would let anyone else tell James Brown's story.

Boseman does a masterful job of carrying the picture, but it also benefits from a tremendous supporting cast in small but meaty roles. Viola Davis gives a heartbreaking performance as Brown's mother, Susie, and her co-star from "The Help", Octavia Spencer, dishes out wisdom as James' Aunt Honey. Dan Aykroyd has great chemistry with Boseman as Brown's manager, Ben Bart, and Jill Scott is sweet and saucy as Brown's second wife, Dee-Dee. One of the film's surprises is Brandon Smith as the flamboyant Little Richard, squeezing as much as he can out of two small scenes. As Bobby Byrd, Ellis gives a quiet but effective performance as the one person who truly knows and understands James Brown, for good and for bad.

"Get On Up" was produced in part by Mick Jagger, who first met Brown when they both appeared on the "T.A.M.I. Show" in 1964. The Rolling Stones closed the show, having the unenviable position of following James Brown and The Famous Flames, a decision that Keith Richards once claimed was the worst of their career. No matter how well they played, there was no way they could top "Mr. Dynamite." Watching Boseman in "Get On Up", it's easy to see why. It's a fitting tribute to a man who was an impossible act to follow.