During her more than two golden decades, Janet Jackson was an astonishing modern pop superstar – a risk-taker with a distinctive voice, vivid self-expression, and innate understanding. about the scale of labor needed to shake up the world of Music. She embodies authority and command, practically unparalleled in her day and painstakingly copied by later generations.
But throughout “Janet Jackson,” a four-hour documentary that aired over two nights on Lifetime and A&E, the highs and lows of Jackson’s career are often presented as a sort of collateral or damage. . Her brothers were famous before; Jackson is the nimble younger sister who comes later. When her brother, Michael, then the most famous pop star on the planet, faced his first accusations of sexual misconduct, Jackson lost his lucrative sponsorship opportunity with Coca-Cola. When a wardrobe malfunction derailed Jackson’s performance at the 2004 Super Bowl, it was her career going down, not her collaborator’s rising star Justin. Timberlake.
It’s a curious choice for the first official documentary about one of the most influential musicians of the past few decades. But what’s even more curious is that Jackson himself is an executive producer (along with her brother and manager, Randy). It’s a decoy and conversion, using the lure of approach and intimacy – the camera has tracked her for 5 years, we assume – as a deflector.
“Janet Jackson” is a recognized documentary that feels like a collection of YouTube news clips. Jackson was interviewed a lot, but mostly provided commentary in a game-by-game fashion, rarely commenting in color. In some parts, especially when she talks to Randy, she is the one to ask questions, especially when the two return to Gary’s family home, Ind.,. At almost every emotional turn, the film leaves a buzzing sound effect, an unconscious echo of “Law & Order “cha-chunk .”, and cuts to trade. That choice creates suspense and humor about dramatic moments.
In between films, “Janet Jackson” is bolstered by some phenomenal archival footage, mostly shot by René Elizondo Jr., Jackson’s ex-husband, who had noticed the camera during their stay. together – as romantic and professional partners – with an eye toward some archival future bus. We see Jackson in the studio with Jimmy Jam and Terry Lewis, in a struggle of wills while blaring the sound of “Janet Jackson’s Rhythm Nation 1814,” her second album with them and the career sequel “Control.” During the recording for the 1995 single “Scream”, we see Jackson and Michael talking about the lyrics and Michael asks her to input her voice from her rock hit “Black Cat”. There are scenes that are sleepy but tell of a meeting with Coca-Cola when Jackson was being offered the funding, and there are also scenes on the table reading the 1993 movie “Poetic Justice,” in which Jackson starred with Tupac Shakur.
As for the drama – no drama, this one asserts. Everything’s fine. Joe Jackson, the patriarch of the family, is shown as a sign of hard work and discipline, not abusive, without whom the success of the children would not be possible. Jackson’s former lovers – James DeBarge, Elizondo, Jermaine Dupri – were largely forgiven for their misdeeds. Her third husband, Wissam Al Mana (they split in 2017), was never named, but the son they share, Eissa, is mentioned and shown briefly. As for the Super Bowl performance that derailed her career, “Jackson and Timberlake are great friends,” she said.
Or maybe something else is going on. Her longtime stylist, Wayne Scot Lucas, said: “She suffers constantly in private and without regard to any of you.
That seems to include Benjamin Hirsch, the film’s director and Jackson’s questioner. In some segments, Hirsch uses the audio of his query to provide a more complete picture of the incomplete answers he received. His questions are light but direct, with only the hint of clumsiness that accompanies pushing a tight-lipped celebrity in an uncomfortable direction. Often, while exploring, Jackson is in the back seat of an SUV, driven to a location designed to trigger memories; The most susceptible aspect of these scenes is the physical proximity, the spatially shared proximity, which is a representation of the shared sense of reality.
When the limelight is ceded to others, especially Jackson’s behind-the-scenes collaborators like Lucas and dancer Tina Landon, clear flashes will appear. And a fuller appreciation of Jackson’s art comes from Jam and Lewis (who were also music supervisors on the documentary), and her former choreographer Paula Abdul. Plenty of other superstars are joining – Whoopi Goldberg, Mariah Carey, Samuel L.Jackson, Barry Bonds (!), Missy Elliott – simply to shower Jackson with so many things, a huge missed opportunity.
It’s a pity if you have to linger on what’s not covered here, but since official documentaries can tend to lean towards the hagiographic genre, there’s little analysis or appreciation of the music or video. Jackson’s, are simply affirmations of their greatness. The one exception was Questlove, who discussed supporting her election to the Rock & Roll Hall of Fame. Jackson’s life has been full of tragedies, but this movie mostly recalls them blandly, and doesn’t protest strongly enough for her victory. Furthermore, editing is complicated and the lighting is often garish – a tabloid production for an artist worthy of vanity.
But the cry was coming from inside the house. Even at the height of her pop, Jackson was often reluctant, and years of public scandals that kept her down even at a distance didn’t seem like she could do much but shrug. and withdraw.
That way, the movie is a success. And sometimes caution is taken literally. When Jackson’s mother was asked about Michael’s death, she hesitated a bit and someone off-camera, apparently Jackson, asked her if the question was too much for her. She points out that it is, and they move on. And when Jackson was discussing her father’s death – “I had the opportunity to thank him, thank God” – it was the rare moment that her emotions were at their best. However, after just the faintest shiver, she put up a wall: “Okay, Ben, that’s enough.” And not yet.
https://www.nytimes.com/2022/01/31/arts/music/janet-jackson-documentary.html In a new documentary, Janet Jackson is hiding in plain sight