Chadwick Boseman, Colman Domingo, drama, Dussan Brown, George C. Wolfe, Glynn Turman, Jeremy Shamos, Jonny Coyne, Joshua Harto, LGBTQ, Ma Rainey, Ma Rainey's Black Bottom, Michael Potts, movies, music, reviews, Taylour Paige, Viola Davis
January 1, 2021
by Carla Hay
Directed by George C. Wolfe
Culture Representation: Taking place in 1927, in Chicago and briefly in Barnesville, Georgia, the dramatic film “Ma Rainey’s Black Bottom” features a predominantly African American cast of characters (with some white people) representing the middle-class and working-class.
Culture Clash: A tough-talking blues diva and her rebellious cornet player have conflicts and power struggles with each other, while they both have constant battles with white racism and the emotional scars that this bigotry has left on them.
Culture Audience: “Ma Rainey’s Black Bottom” will appeal primarily to August Wilson fans and people interested in well-acted movies about African American experiences.
“Ma Rainey’s Black Bottom” triumphs as one of the rare movies adapted from a celebrated play that can actually claim to be better than the play, thanks to powerhouse performances by Viola Davis and Chadwick Boseman. The movie version of “Ma Rainey’s Black Bottom,” which is based on August Wilson’s play that debuted on Broadway in 1984, takes place mostly in a small recording studio, but the deep emotional impact and the breadth of social issues experienced and conveyed by the characters go beyond the confines of that studio. The story is set in 1927, but the story’s themes are universal and timeless.
Directed by George C. Wolfe with a screenplay written by Ruben Santiago-Hudson, “Ma Rainey’s Black Bottom” begins in Barnesville, Georgia, where blues singer Ma Rainey (played by Davis) is giving a foot-stomping, rousing performance to an enthralled audience in a tent. She’s sweating profusely, as she does in every scene in the movie, and caught up in the rapture of giving a raw and passionate performance for the adoring crowd.
When she’s off stage, Ma isn’t the fun-loving, “good time gal” that she might appear to be when she’s on stage. Ma is a middle-aged diva who’s feeling the pressure of being considered a “has-been” as her former protégée Bessie Smith is almost certain to surpass Ma in popularity. It’s an ageism problem faced by many entertainers, especially women, who are at the mercy of fickle audiences and industry people who might end up moving on to someone who’s considered younger, more contemporary and more attractive.
Ma has earned the nickname the Mother of the Blues, and she’s not about to give up her reign at the top that easily. She uses her clout and her unique talent as reasons to do and say what she wants, including showing up late, berating her employees, and making people kowtow to her sometimes-unreasonable demands. It’s clear that Ma’s way of asserting her power is to counterbalance the humiliation and pain of racism that she experiences as a black woman in America, where white supremacy was legal in the form of racial segregation and other Jim Crow laws.
“Ma Rainey’s Black Bottom” references the Great Migration, a period of time (1916 to 1970) in U.S. history where millions of black people relocated from the states in the South to states in other parts of America. These areas outside of the South were often viewed as presenting better opportunities for people of color, but these areas certainly were not immune to racism. When Ma travels to Chicago for the one-day recording session that’s the majority of this story, it represents her own personal parallel to the Great Migration.
Where Ma goes, drama usually isn’t far behind. Upon arriving in Chicago during a sweltering summer, she gets into a dispute on the street when she’s accused of pushing down a white man. A cop (played by Joshua Harto) who’s called to the scene is inclined to arrest her, but Ma uses her clout, loud voice and her “take no crap” attitude to get the cop to back off.
Ma, who lives openly as a lesbian (as did the real-life Ma Rainey), is traveling by car to the recording studio. Accompanying her are her much-younger lover Dussie Mae (played by Taylour Paige) and Ma’s teenage nephew Sylvester (played by Dussan Brown). As gruff as Ma is to most people in her life, she shows tremendous loyalty to the few people who are closest to her, especially Sylvester.
Dussie Mae is an attractive young woman whose relationship with Ma is fairly new and is more like a “trophy girlfriend” than a soul mate to Ma. Throughout the movie, it’s implied that Dussie Mae is somewhat of a gold digger. Dussie Mae goes through life using her looks and sex appeal to get people to financially support her—not because she’s mean-spirited but because she’s too unsophisticated to doing anything else with her life.
Ma, as usual, is running late on her way to the studio, where she is scheduled to record the song “Ma Rainey’s Black Bottom.” When Ma and her two-person entourage (Dussie Mae and Sylvester) finally get there, Ma takes charge and sometimes gets into subtle and not-so-subtle power struggles with the men who’ve been waiting for her at the studio. These power struggles have many different layers that exemplify issues of gender roles and racial discrimination.
The six men in the recording studio who experience Ma’s mercurial range of emotions during this challenging day are:
- Levee (played by Boseman), the charismatic, foul-mouthed cornet player who’s the newest and most arrogant member of Ma’s band.
- Cutler (played by Colman Domingo), the band’s trombone player who is very loyal to Ma and considers himself to be the most experienced and skilled in dealing with her mood swings.
- Toledo (played by Glynn Turman), the band’s pianist who is the most likely to be the jokester in the group.
- Slow Drag (played by Michael Potts), the band’s bass player who is the quietest and most laid-back member of the group.
- Irvin (played by Jeremy Shamos), Ma’s longtime manager who often has to be a peacemaker when she decides on a whim to throw situations into chaos.
- Sturdyvant (played by Jonny Coyne), the manager of the recording studio who grows increasingly impatient with Ma’s diva antics.
In the scenes in the recording studio, Irvin and Sturdyvant (who are white) are often together in a booth that overlooks the recording room where they can watch through a glass window what’s happening down below with the Ma and the rest of her African American colleagues. Irvin and Sturdyvant usually leave the booth to go into the recording studio when there’s a problem that affects their time and money invested in this recording session. And there are several interruptions to the recording session for this reason.
The higher location of the booth and its separation from the main recording studio room are obvious metaphors of the spoken and unspoken racial barriers that exist between the people in this recording session, where racism is a festering wound that has impacted the characters on a personal and societal level. Ma and her colleagues are all too aware that even though Ma is the star in this room, she still has a subservient role to the white men who control the music industry. It’s a role that she expresses with a lot of emotional pain, bitterness and defiance throughout the story.
At one point in the story Ma says with heavy resentment: “They don’t care care nothin’ about me. All they care about is my voice.” She adds, “If you colored and you can make them some money, then you all right with them. Otherwise, you just a dog in the alley.” And later in the story, Ma reveals that even though Irvin has been her manager for the past six years, the only time he invited her to his home was so she could perform for his “white friends.”
There are also issues over gender roles that permeate the story. When Ma arrives at the recording studio, she finds out that all the men who’ve been waiting for her have already decided that she will record a new, more upbeat version of “Ma Rainey’s Black Bottom,” with the arrangement written by Levee. Ma refuses and declares that she is going to record the original version of the song. She also insists that her nephew Sylvester is going to do a short spoken intro to the song, even though he’s a stutterer.
Ma literally and figurately throws her weight around as she has diva tantrum after diva tantrum. At one point, she shouts: “I make more money for this outfit than anyone put together!” And when she finds out that the Coca-Cola that she requested in advance isn’t in the studio, she refuses to start recording until she gets her Coca-Cola.
All of the members of her band are very compliant except for Levee, who constantly challenges Ma’s decisions and tries to assert himself as a visionary musician whom Ma needs if she wants to get more respect for her music. Early on in the story, Tyree tells Cutler: “I ain’t like you, Cutler. I’ve got talent. I know how to play real music, not none of this jug band shit.”
Levee shows flashes of vanity (he brags about his shiny yellow shoes and is aware of how good-looking he is) and hubris (he thinks all of his ideas should be immediately accepted), but underneath that cockiness is someone who’s got deep-seated emotional pain and trauma. During the long stretches of time that the musicians in the band are waiting for Ma, Levee slowly opens up about his past and reveals secrets that explain why he acts the way that he does.
At one point, Levee is teased by the other members of the band when they see Levee acting in a very deferential way to Irvin and Sturdyvant. The band mates try to make Levee feel like he’s an “Uncle Tom,” which triggers Levee into losing his temper and then revealing a defining incident from his past that permanently changed his outlook on life. He tells this story in a harrowing monologue that’s one of the best scenes in the film.
Ma and Levee’s clashes with each other aren’t just about music. An observant Ma notices that Levee has been looking at Dussie Mae in a way that makes it obvious that he’s attracted to her. Dussie Mae flirts back when Ma isn’t around. And it doesn’t take long for Levee to ramp up his sexual advances toward Dussie Mae, even though the other band members warn Levee that Dussie Mae is “Ma’s girl.”
Levee’s disagreements with Ma over her musical direction, as well as Levee not even trying to hide that he’s interested in making moves on Ma’s lover, put him in a precarious situation where he might or might not be fired from the band. As time goes on during the day and Ma goes back and forth about whether or not she’ll complete the recording, Levee is going through his own insecurities and turmoil. At times, he also clashes with Cutler, especially when it’s revealed how Levee feels about God and religious beliefs.
Under the assured direction of Wolfe, “Ma Rainey’s Black Bottom” not only has a top-notch cast but the movie also excels in costume design, production design and music. The stage/play version of the story takes place in the winter, but the filmmakers made the astute decision to change the season to summer during an oppressive heat wave. It gives the movie more of a “pressure cooker” look and tone that’s an accurate reflection of the simmering tensions that permeate throughout the entire story.
Davis and Boseman give award-worthy performances in this movie that goes beyond personality conflicts and ego posturing. “Ma Rainey’s Black Bottom” (which was Boseman’s last movie; he died of colon cancer in August 2020) is also a story of the shared trauma of racism and how even the strongest of souls are tested by this insidious societal cancer. Viewers who are sensitive about hearing racially derogatory names should be warned that the “n” word is said many times in this movie, usually when uttered by Levee.
Even though the movie is called “Ma Rainey’s Black Bottom,” the character of Ma has a lot less screen time than Levee does. If Ma is the heart of “Ma Rainey’s Black Bottom,” then Levee is the soul. Levee and Boseman’s heartbreaking performance represent anyone who has survived trauma inflicted by other people but struggles with the damage that can be inflicted by self-destruction.
Netflix released “Ma Rainey’s Black Bottom” in select U.S. cinemas on November 25, 2020. The movie premiered on Netflix on December 18, 2020.