Ma Rainey’s Black Bottom, based on the August Wilson play of the same name, is on Netflix right now, and was nominated for several Oscars, including best actress (Viola Davis as Ma Rainey) and best actor (Chadwick Boseman, in his last role). The play focuses on one day in Chicago in the 1920s, when Ma Rainey and her band are recording an album at the behest of her white manager. I learned, in researching this, that Denzel Washington has a contract with Netflix to produce all of the plays in Wilson’s Century Cycle (also called the Pittsburgh cycle) as movies for Netflix. The first one in the series was Fences, starting Washington and Davis, and was also Oscar-nominated, with Viola Davis winning Best Supporting Actress for her work as Washington’s wife.
Ma Rainey is an intense film, with the tension rising right from the start. Levee, played by Boseman, is a member of Ma’s band, but he doesn’t want to play her music the way it’s always been done—he wants to rearrange it and make it faster and hotter. He has a sort of jittery energy that parlays into deep pain and pathos as the story moves on. The other members of the band are older men, well-seasoned musicians who know what they have to do to get along in a world that’s run by white people. Their interactions make up most of the film and you can tell that the dialogue is adapted from a play, because it’s melodic, dense, and intricate.
Davis, in the movie for less than a half-hour, hits all the right notes (and I’m not trying to make a pun) as the titular band leader. When she arrives late to the session, the energy revs up, and so does the tension.
I don’t want to give away the plot, but the performances are searing. Boseman, in particular, delivered two monologues that are so wide-ranging in color and tone, and so intense, that you have no choice but to watch him. I really felt like I was in theater during those scenes. He really is the highlight of the entire movie.
The film won two Oscars, for costume design and for makeup.