Hey everyone. Capone in Chicago here.

Let's start by putting aside the ethical decision to release this film in the first place. I have less of a problem with Sony releasing this film so soon after Michael Jackson's death and more with the fact that the unpolished nature of the work being shown would never have seen the light of day if Jackson were still alive. The performer was a perfectionist to a fault, and having footage of him at anything less than his absolute best simply wouldn't be allowed to be viewed by the public. But Michael Jackson is not in control of his image any more or even his own output.

This Is It is the first of what I'm sure will be many film and music releases that will now make their way to the public, and you know what? I thought it was pretty strong material. You have to remember that unpolished Michael Jackson is better than 95 percent of most other singers and performers in the world. The footage is taken from a series of rehearsals from March to June 2008But the stuff I liked the most are the unguarded moments where Jackson issues forth orders to his band, his dancers, and his production director Kenny Ortega (who also assembled this film).

There are a few wonderful diva-like moments--a scene in which Jackson is complaining about the sounds levels in his earpieces being too loud is downright hilarious--but for the most part Michael is concentrating on getting the music, dancing, and other elements perfectly coordinated. I was truly shocked how hands on Jackson was for this production, from selecting his backup dancers to the production short films that would run in the background of the stage during certain songs. And in nearly every case, what he's instructing others to do actually does make the show better.

When I heard that Michael Jackson was preparing to play 50 shows in a row in London last summer, I was well aware of his reputation for dropping out of gigs at the last minute and leaving everyone suing everyone else for the lost money. On the day he died, when I'd heard he'd gone to the hospital, I'd assuming this was another one of his attempts to get out of his commitments. But I think this footage reveals just how dedicated he was to playing at least some of these shows to the best of his abilities. It's funny to watch Jackson sing his heart out at rehearsal and then chastise himself for not saving his voice, while bandleader and keyboard payer Michael Bearden urges him to continue belting out a song like only Jackson can. The other thing that genuinely surprised me was how generous he was about sharing the spotlight with others on stage, in particular his lone female backup singer and occasional duet partner Judith Hill and the crazy sexy lead guitarist Orianthi. When he tells Hill that a particular moment in "I Just Can't Stop Loving You" is her moment to shine, you can almost see the tears in her eyes.

And how about those songs. Shortly after a slightly lackluster opening rehearsal number for "You Wanna Be Startin' Something" (it took me a while to get used to Michael not singing all the vocals for some songs just to hear what others are singing or playing), he goes into a breathtaking rendition of "Human Nature" that made me remember what it was about Jackson's voice that I loved so much growing up. What follows is a series of greatest hits, some rearranged, but most done note for note like the album versions. And I'm not complaining. Hearing songs like "Don't Stop 'Til You Get Enough," "Jam," "Black or White," "The Way You Make Me Feel," Shake Your Body," and "Man In the Mirror" really brought back memories. But it's the songs from Thriller that get the most attention--"Beat It," the title track, and the show-stopping "Billie Jean"--you can't help but cheer a little watching him recreate the dance routines that are as much a part of the cultural fabric as the songs.

Some of the set pieces for songs like "Heal the World" are undeniably cheesy and are focused on for far too long. But for every moment like that, you get two or three truly eye-popping sequences, best among them is an all-too-brief Jackson 5 medley that includes "I Want You Back," "The Love You Save," and a absolutely devastating version of "I'll Be There." This Is It isn't quite the revelation I think some people feel it might be. There isn't a hint of Michael the drug addict or man near death. All of you morbid curiosity seekers will have to look elsewhere. There's a bit of Jackson the man-child, but there's also Michael the spiritual man (his "God bless you" mantra gets old after a while).

The dedication (presumably from Ortega) at the film's opening is to the Fans, but I think that's what Michael Jackson was aiming for with the show. It's a greatest hits package, accented with familiar dance routines, with the occasional reworked number just to mix things up. All I could think of after watching This Is It is that these shows would have been stellar, and for the first time since Jackson's death, I actually started to miss the singer whose music I grew up admiring.

-- Capone
capone@aintitcoolmail.com
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