Get on Up

For James Brown, it was all about the funk. So while Get on Up strikes many of the right notes, even the subject of this biopic might suggest it’s not funky enough.

By confining Brown’s life story to a standard rags-to-riches framework, the film misses an opportunity to emphasize what made him such an influential figure in the 20th century pop-music landscape.

Fortunately, it showcases a terrific performance by Chadwick Boseman (Jackie Robinson in 42), whose portrayal of Brown is more than simple mimicry. He captures his subject’s voice and mannerisms, but perhaps most appropriately, he finds his soul.

The film hits the highlights in Brown’s story, including his torturous childhood in racially segregated Georgia that eventually led him to discover gospel music, which was his earliest influence. His talent grew from there, as he became destined for fame and fortune despite having no vocal training and a limited educational background.

The story also chronicles his legendary work ethic and overbearing personality, with a revolving door of women and band members unable to cope. For someone who fed off public acceptance, his private life was a mess. Brown did manage close relationships with mentor Little Richard, as well as longtime sidekick Bobby Byrd (Nelsan Ellis) and promoter Ben Bart (Dan Aykroyd).

The supporting cast is peppered with recognizable faces, including Viola Davis as Brown’s absentee mother, Octavia Spencer as a caretaker, and musicians Jill Scott, Tariq Trotter, and Aloe Blacc as band members.

As directed by Tate Taylor (The Help), Get on Up is a slick and straightforward crowd-pleaser that conveys Brown’s charisma, flamboyance, over-the-top stage antics, and arrogance to the point of egomania. He was always more of a showman than a singer, something reflected in the hair and costume budget for the film.

With its jumbled chronology, the screenplay is most insightful when remaining focused on Brown’s formative younger years. Still, it’s a glossy tribute that tends to misjudge his character and overlook the vices of its subject, only hinting at his womanizing, violent outbursts, drug abuse, and other legal problems.

“If it sounds good and it feels good, then it’s musical,” Brown tells his disgruntled band during a rehearsal, and the film seems to take the same approach. With its lively musical numbers and upbeat tone, it knows that narrative flaws can often be forgiven if you just put on a good show.

Rated PG-13, 139 minutes.