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Being a child of the ’80s, my first memories of Ray Charles were of Pepsi commercials. You know the slogan: “You got the right one, baby! Uh-huh!” It wasn’t until I reached high school that I was able to appreciate his musical genius and innovation. “Ray,” a biopic of the music legend, is an effort to tell the world just how important Ray Charles is to American culture.
Blind by the age of 7, Ray Charles Robinson was raised in poverty by his mother in central Florida. He was taught how to play piano at a very early age and continued to play after losing his sight. In a time when the majority of this country despised for African-Americans, Ray’s mother refused to let her son feel sorry for himself. As a young man, Ray took his talents to Seattle, where he was helped out by a young Quincy Jones. Before long, he had a regular gig at a local nightclub. Unlike some biographical movies, “Ray” isn’t it for the kiddies. Sure, it has that Hollywood flavor. But it doesn’t shy away from following the performer through a lifetime of heroin addiction, womanizing and haunting memories of his dead younger brother, George. Ray did things the way he wanted to do them. He used not only his unmatched talent but his keen sense of business to make himself a part of history.
The power of “Ray,” like any good biopic, is in its strong performances – the strongest being Jamie Foxx as Ray Charles. Never once did I think that I was watching Foxx play Ray; I felt like I was watching Ray Charles. Jamie Foxx has gone unnoticed for many years. His powerful supporting performances in “Any Given Sunday” and “Ali” paved the way for his recent starring roles in “Collateral” and “Ray.”
Foxx could have single-handedly carried this movie, he is that good. But for good measure he has help. Regina King, Curtis Armstrong (or Booger from “Revenge of the Nerds” for those keeping score) and Larenz Tate all give fine showings.
Biographical movies tend to lag at times. A director becomes so caught up in the person’s life that he or she can’t bear to edit out what needs to be. Director Taylor Hackford is no different, as we are treated to a nearly three-hour exercise in redundancy. That, my dear readers, is the single negative thing I can say about this movie.
Hackford has continuously disappointed me with movies like “Proof of Life,” “The Devil’s Advocate” and “Dolores Claiborne;” none of them bad movies, just forgettable ones. He is certainly redeemed in his offering of “Ray.”
“Ray” isn’t so much a redemption story, and it is not so much a love story. It is a morality tale about the diversity of disabilities. Blindness was never Ray Charles’ strongest disability. It was his addictions. And just like every other obstacle in his way, he overcame them, too.
