In recent weeks, the new Michael Jackson biopic 'Michael' has dominated box office charts while receiving mixed to negative reviews. Critics have called it shallow, comparing it to a well-performed playlist of the singer's hits rather than a meaningful exploration of his complex life. The film notably ends in 1988, a choice that avoids confronting the darker chapters that followed.
This release, alongside the announcement of four separate Beatles biopics, has reignited a crucial conversation: we need a moratorium on musical biopics.
The Problem with the Genre
Musical biopics are not an easy genre to master. Filmmakers face conflicting obligations: respecting the artist's legacy, securing rights and catalogues, and cooperating with family members. These constraints often flatten the story into a sanitized, predictable narrative.
Recent entries include films about Bob Dylan, Elton John, Elvis Presley (two of them), Robbie Williams, Bruce Springsteen, and Amy Winehouse. The conversation inevitably focuses on casting: how much the actor looks or sounds like the real person. Remember the months of debate about Austin Butler's Elvis voice? This emphasis on comparison distracts from genuine storytelling.
Expensive Karaoke
At its worst, a musical biopic becomes expensive karaoke. Audiences already know the songs and the broad strokes of the artist's life. The viewing experience becomes a checklist of famous moments rather than a revelation. We are left asking: what new insight does this film offer?
Aren't we tired of this formula? Wouldn't a break after four Beatles movies be wise? At least Robbie Williams tried something experimental by portraying himself as a monkey. More films should take risks, focusing on lesser-known figures or untold perspectives. We need stories about musicians whose lives have been distorted or misunderstood.
One Exception: Cass Elliot
Despite my aversion to the genre, I have long hoped for a biopic about Cass Elliot of the Mamas and the Papas. Did you know she hated being called 'Mama Cass'? Her career was fascinating and tragic, overshadowed by a cruel myth about her death and the fatphobia she endured—themes that resonate strongly today.
If I am ever to watch another musical biopic, it must tell a story that speaks to something meaningful. No more prestige recreations of famous men's songs and the boring beats of fame. Put that in my biopic.
Rebecca Shaw is a writer based in Sydney.
