By: debbie lynn elias
Leonard Chess is name probably not familiar to many of you. However, it is because of Chess that you are familiar with recording artists like Etta James, Muddy Waters, Howlin Wolf, Little Walter, John Lee Hooker and Chuck Berry, and even more familiar with the likes of the Rolling Stones, Fleetwood Mac and Eric Clapton, the latter three of whom were directly musically influenced by the recording artists at Chess Records. And of course, Leonard Chess is known for being one of the catalysts of the Payola scandal that rocked the music industry back in the late 50’s. Chronicling the rise of Chess Records (and taking great liberties with history along the way), CADILLAC RECORDS is the story of Len Chess and his stable of stars who went on to become some of America’s greatest musical legends. Graphically depicting the turbulence of the segregated 1950’s and 60’s, director Darnell Martin has crafted a colorful tale encompassing racial and ethnic issues, sex, violence, the blues and rock ‘n roll.
Establishing an early relationship with an unknown Mississippi farm boy named Muddy Waters, Len Chess (and although omitted from the film, his brother Phil) blended Waters’ bluesy rural style with ensemble blues rooted in the sound of old Chicago artists. Engaging but not earth-shattering, it wasn’t until Chess struck a chord mixing Waters with bassist Big Crawford and ultimately the hyperkinetic harmonica player Little Walter that they struck gold. Confident in his decision that this music was “the future” Chess pedaled the records from radio station to radio station across the country, paying out bribes along the way to the White DJ’s if it meant getting airplay for Waters. The music – and the payola – worked as Waters music moved rapidly up the R&B charts. And for Waters, and every Chess artist with a hit record thereafter, a new Cadillac from Len Chess.
But a record label can’t survive on one artist and the always savvy Chess set about finding talent wherever and whenever he could eventually signing Howlin Wolf who, although part of the Chess family was a top rival to cornerstone Waters, a skinny young guy with a duck walk named Chuck Berry who made the crossover into mainstream “white” American music marking the true birth of rock ‘n roll, and ultimately the sultry and talented Etta James, a woman renowned the world over and still knocking ‘em dead with her classic “At Last.” This is their story.
If the Academy of Motion Picture Arts & Sciences were to ever give an ensemble Best Oscar, it would be for this film. As eloquently opined by Adrian Brody who plays Len Chess, “The more well known the character that you are playing is, I believe the more pressure there is on the actor to really embody that and those qualities and do them justice.” Never have I seen a more complete platter of Oscar worthy performances as each actor embodies their respective character with such meticulous definition and precision, there are times it is almost impossible to tell “is it live or is it Memorex.” The greatest example of this comes from executive producer and star, Beyonce Knowles, who IS Etta James. Packing on some 15 or so pounds to attain James’ more zaftig figure, Knowles captures the faltering tilting-on-too-high-high-heels walk, the slunking swing of her arms, the tilt of the head when performing. She is stunningly mesmerizing. But beyond the physical transformation is the voice. Every note, every syllable. Close your eyes and you would swear Etta James is singing. Open your eyesand you would swear she is standing in front of you. Hello Best Actress.
But let’s not stop with Beyonce. Take a look at Mos Def who again embodies his character – the incomparable Chuck Berry. Over the top, enthusiastic, energetic and frenetic, from voice to duck walk to ambient flair, he is Chuck Berry. Likewise, Jeffrey Wright who nails Muddy Waters to a tee. Wright found a fair amount of printed material on Muddy Waters but “for me the entryway for the character is through the music. There is a specific cultural historical place the music comes from.” This led him to the vast library of music available on Waters. “It was a matter of finding the music and finding his voice, not only the way he expresses himself musically but through his language. . . a celebration of the language of the Black American South.” Going beyond the voice and the music though, Wright brings a soulfulness that shines through his eyes that is welcome and warming, giving way to a vulnerability that is touching. Another masterful performance comes from Eamonn Walker who faced immense pressure in portraying Howlin Wolf, not only because he is a legend in Walker’s home country of England and among Walker’s own circle of friends but “for me there was a long way to go with the Mississippi accent.”
Besides Beyonce’s Etta James, the only other real female part is that of Geneva Wade, played by Gabrielle Union. Wade was Waters’ love for many years. A single mother, she became an integral part of Waters life early on in his career and stayed with him through thick and thin. For Union, the consummate actor, she “had very little to go on” to create her character. Wanting Geneva to be as exact as her musical counterparts, Union found “there was very little in first person. It was really other people’s perceptions. There was one picture that Jeffrey showed me of her. It left me a lot to create.” And folks, for the record, as Jeffrey Wright opined, for Union to physically resemble the real Geneva Wade, she “better be eatin’ a lot more ribs.” Union illuminates the screen every time her face appears – even when she is made to look dowdy and frumpy.
And then we have the man himself, Adrian Brody as Len Chess. As Chess, Brody had more latitude for character development than his counter parts. “For me there was a little bit of leeway because of the history of Leonard Chess. There isn’t that much of him out in the media. I think when a character has to sing and play all the music there are additional challenges. In this case there was probably less pressure for me.” However, one pressure he did face was having to balance the familial good-heartedness of Chess with his more unscrupulous conduct, much of which was overlooked in the script. Brody is solid and convincing and a driving force throughout the film bringing great passion to the character.
Written and directed by Darnell Martin, the film is a testament to the artists of Chess Records and the music industry, despite its shortcomings in historical accuracy. Anastas Michos’ cinematography ranks among the finest in any film this year. The film’s opening montage just grabs you, reeling you into the story. But the excellence just keeps coming with production design by Linda Burton and costuming by Johnetta Boone. And did I mention the soundtrack? All of our actors do their own singing not only on film but on the soundtrack as well. No personal music collection is complete without CADILLAC RECORDS. A logistically difficult shoot, lensing was completed in 28 days but, according to Jeffrey Wright, “the set was filled with laughter.”
But, on the flip side, (and we all know that the B side is not quite as good as the A side of record), a big problem and distraction was the lip sync to the tracks the performers did lay down (who are all killer on their vocals). If you look closely, you will see that (1) they were not actually singing during the filming of certain scenes and (2) the sync was really off – and of all people – especially with Beyonce on one of James’ torchers and a good portion of Walker’s performances as Wolf. Disturbing and distracting. Also, some of the dialogue was very difficult to understand because of the intentional “ebonic southern uneducated” muffled slurring – particularly as to the Waters character. Granted the man did speak like that, but then the score was too loud to allow the dialogue to be heard clearly.
For me personally, I was disappointed Martin elected not to be more graphic Len Chess’ flagrant monetary abuses with his clients and as to the payola. I think it is a detriment to the film to not have been truthful in the representations because not only was his conduct so critical and impacting to the music business at that time, but it really makes Chess look like a great guy with just a little flaw, instead of the self-serving money grubber that was a driving force behind his actions. According to Brody, “It was a story decision” to essentially ignore Chess’s involvement in Payola. “There could easily have been a movie on the Chess brothers and Chess Records. But we could only touch on it. It’s interesting so much is corrupt and yet that paves the way for certain beautiful things. in this case, because of blindness that people have and sometimes they need to bribed into seeing…whether they feel it or not it exposed beauty.” And of course, for me, a segment in the film on Chuck Berry’s appearance on “American Bandstand” was completely incorrect from every standpoint. Growing up on the AB set with a father who was the cameraman even before the days of Dick Clark, the set, the color, the performance, was completely wrong. Call me obsessive, but when something is such a large part of your own history, accuracy counts.
Given that the individuals represented in CADILLAC RECORDS are such iconic figures in music history, I asked some of the principles what they hope the audience will take away from each of their respective characters and was surprised at some of their thoughts. For Columbus Short, as who played Little Walker, “Each person had individual vulnerabilities. Beyond the music. I hope people will see who these people were. Catalysts for the music.” As to Gabrielle Union, with Geneva, a woman cheated on and betrayed by Waters but who stood by him through thick and thin, “I wanted to show that staying doesn’t mean you’re weak. You can still have strength and dignity in staying and keeping your family together. We shouldn’t make such snap judgments about women who choose to stay. There’s something about forgiveness and love can endure.” For Eamonn Walker, as to Howling Wolf and the fellow Bluesmen, “All these people had demons and they worked their demons through their music and each other. They had to work this stuff out and they all had to stand up for themselves. I’ve taught myself to stand up. I want you to stand up.” Jeffrey Wright has one main thought, “If Elvis Presley was the king of rock ‘n roll then Muddy Waters was the god of rock n’ roll. Respect the source.” And for Adrian Brody, “It’s very important for me that I’m able to convey the complexity of an individual. Sometimes it’s very difficult. These are all very complex individuals. That is something that everyone here accomplished. Their own complexity and their own struggle to overcome their demons and their self-destructive nature. Also, the complexity of their relationship with one another. Specifically with a story like this where there’s the issue of race and the issue of a level of exploitation and the issue of a level of overcoming past suffering for all the characters, I think there’s a lot of richness in there so that was what was important to me.”
Despite some of the shortcomings of Len Chess in his conduct not only as to payola but in the artist scams Chess pulled with contracts and money, you can’t take away what he did for the industry, for music nor ignore his love of what he did. Be it good and bad, Len Chess really impacted the industry as a whole and helped give the world rock n’ roll. This is the story of a few of those pioneers. CADILLAC RECORDS. It’s got a good beat and you can dance to it. And on this week’s Rate-A-Record card, I give it a 98.
Len Chess – Adrian Brody Muddy Waters – Jeffrey Wright Howlin Wolf: Eamonn Walker Etta James – Beyonce Knowles Chuck Berry – Mos Def Little Walter – Columbus Short Geneva Wade – Gabrielle Union
Written and directed by Darnell Martin. Rated R. (109 min)
