An excellent film overall, Ray begins with a mellow prelude that leads to a second verse that pops and propels the narrative to satisfying and harmonious heights. Fifteen years in the making, Ray reveals the compelling story and charts the innovative music of Ray Charles, a man who is more than worthy of the moniker "Genius of Soul."

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Cautioned as a young child to rise above his circumstances and determine his own destiny, Charles used his musical gifts to do just that and in the process enriched the world with his artistry. Charles' impoverished and tragic childhood as well as the evolution of his distinctive musical style is wonderfully captured in the film. 

© 2004 Universal Pictures 

Regina King (center) as Margie Hendricks

But the film provides for more than an opportunity to hear Charles chart-topping tunes, it's a chance to gain a greater appreciation for a man who refuses to allow his personal afflictions to impede his progress. Charles' 20-year narcotics addiction, rampant womanizing and childhood demons play prominently in the film and are shown to impact his music. In choosing to dramatize the high and low points of Charles' amazing success story, Hackford makes the period piece universally relevant as a testament to the human spirit unwilling to succumb to life's setbacks. Hackford vigorously directs Charles' triumphant journey with skill, verve and an immensely talented cast.

Recreating Charles on screen is Jamie Foxx, known more for his work in comedy than drama. Be that as it may, Foxx silences any would-be critics and delivers an all-encompassing performance. In a role that fits him as stylishly as the Ray-Bans he dons to signify the musician, Foxx performs with the dignity, grace and excellence that one would expect in the portrayal of an American cultural icon.

A man with his own recording credentials, Foxx's music ability added greatly to film. His musical skills gave Hackford the freedom to simultaneously shoot Foxx's face while he sang and his hands while he played and thus use Foxx to fully reenact Charles' lively performances without the cinematic device of a piano-playing stand in.

To lend further credibility to his portrayal, Foxx "blinded" himself during the film's production by wearing prosthetics that sealed his eyes shut. Despite performing without using his eyes, which are essential to an actor's ability to deliver a plausible performance, Foxx's interpretation of Charles rings true. Just like one who has lost a sense, Foxx masterfully employs his other acting techniques to bring forth a nuanced representation. Foxx's vocal intonations, facial expressions, mannerisms and natural charm transform him into Brother Ray so completely that the veracity of Foxx's expert portrayal leaves a long-lasting impression.

But Foxx is not alone in lighting up the screen. Kudos go as well to the fantastic acting ensemble that shapes Ray into a moving cinematic experience. Ray's supporting cast includes a diversity of highly talented actors whose brilliance is on display in stirring full-bodied roles. Although Larenz Tate and Aunjanue Ellis are personal favorites, Regina King (as Margie Hendricks) commands attention with her fiery performance as Ray's mistress and the vocal center of the three member backup singers, the Raelettes.

Incorporating Charles' music into the story was as important as the choice of the cast in giving the film its mark of authenticity. To that end, Hackford wonderfully intersperses some of Charles' signature and genre-busting tunes to strengthen the narrative. The selection of songs from Charles' extensive catalogue fittingly captures his artistic innovation and music legacy. 

Ray Charles sang what many initially described as sacrilegious. Despite detractors, his music turned out to be infectious as the multitudes responded to the deep gospel inflections in his secular songs as if they were getting the Spirit at a revival rather than a nightclub. See Ray and experience the dynamic life-force behind generations of enduring music.  M

October 2004