_Cadillac Records_: The _Heeb_ Review

There is that old adage about blues having a baby and naming it "rock n’ roll." If that baby was conceived in the South, it was born and raised in Chicago at Chess Records, headed by Polish- Jewish immigrants Leonard and Philip Chess.

The story of the label finally gets the big screen treatment with Cadillac Records. In it, Adrien Brody plays Leonard Chess, the guy getting rich and Mos Def plays rock n’ roll founding father Chuck Berry. Both stars add legitimacy to the biopic, but Beyonce Knowles as troubled siren Etta James and Jeffrey Wright as the iconic Muddy Waters really give this film it’s legs.

I have always had an appreciation for Knowles and her interest in the music that helped pave the way for artists such as herself. In 2006 Dreamgirls, it was the Motown and now it is by paying a fitting tribute in her turn as James (as well as co-producer of the film). She plays a character that seems strong and together, but in reality is close to edge and in danger of breaking. Knowles un-doubtingly understands that psychology, and gives the Queen of Soul her due. It’s probably not quite right to call this a "breakout" performance–after all, she’s already in the alter-ego phase of her career (see Sasha Fierce), but in my mind it is the finest role she has played thus far.

Jeffery Wright was the only logical choice to play Muddy Waters, and one is hard pressed to imagine any actor grabbing ahold of that role the way he does. Taking on one of the giants of American music (he has also played Jean-Michael Basquiat and recently Colin Powell in Oliver Stones W.) is hardly an easy task, but Wright has cemented his place as one of the finest actors of this generation with this role.

Unfortunately, Cadillac Records falls into many of the trappings of a "fictionalized" account of events–for instance, the corny moment where historical significance is revealed as a group from England makes mention that they named their band after a Chess classic, branding themselves "The Rolling Stones." There is also far too much left out of the story, including the importance of Philip Chess, whose contributions as a partner and producer were virtually as important as the wheeling and dealing of his cagey brother Leonard.

The film, it should be mentioned, also pays homage to the lesser-covered names like Willie Dixon and Little Walter. It’s meaningful and well-deserved, but doesn’t help Cadillac Records from the story misses too much of the volatile bar rooms and back rooms of 1950’s Chicago. Hopefully, that won’t dillute the star performances and killer soundtrack (most of the songs are performed by the actors themselves) and gain more attention to one of the most important musical communities of the 20th Century.

What do you think?