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Why Netflix’s ‘Ma Rainey’s Black Bottom’ ends with a scene that’s not in the play [Los Angeles Times]
The following story contains spoilers from the movie “Ma Rainey’s Black Bottom,” now streaming on Netflix.
The final frames of Netflix’s “Ma Rainey’s Black Bottom,” adapted from two-time Pulitzer Prize winner August Wilson’s 1982 play, show a dozen or so white men performing in a recording studio. The instrumentalists appear dull and unfeeling; the singer’s delivery is dry. The trumpet solo, meant to be the song’s standout riff, feels particularly hollow, void of charisma. Yet above them the producer nods, pleased with what he hears.
Why Netflix s Ma Rainey s Black Bottom ends with a scene that s not in the play | Arts & Entertainment
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The following story contains spoilers from the movie “Ma Rainey’s Black Bottom,” now streaming on Netflix.
The final frames of
Netflix’s “Ma Rainey’s Black Bottom,” adapted from two-time Pulitzer Prize winner August Wilson’s 1982 play, show a dozen or so white men performing in a recording studio. The instrumentalists appear dull and unfeeling; the singer’s delivery is dry. The trumpet solo, meant to be the song’s standout riff, feels particularly hollow, void of charisma. Yet above them the producer nods, pleased with what he hears.
The scene, which is only a minute long, isn’t in the original play. But witnessing this bland rendition of the vibrant song that Levee, Chadwick Boseman’s talented trumpeter, has been practically coerced to give away punctuates the heartbreaking saga of
Why Netflix s Ma Rainey s Black Bottom ends with a scene that s not in the play Ashley Lee © Provided by The LA Times Chadwick Boseman plays a talented trumpeter in Ma Rainey s Black Bottom on Netflix. (David Lee / Netflix)
The following story contains spoilers from the movie Ma Rainey s Black Bottom, now streaming on Netflix.
The final frames of Netflix s Ma Rainey s Black Bottom, adapted from two-time Pulitzer Prize winner August Wilson s 1982 play, show a dozen or so white men performing in a recording studio. The instrumentalists appear dull and unfeeling; the singer s delivery is dry. The trumpet solo, meant to be the song s standout riff, feels particularly hollow, void of charisma. Yet above them the producer nods, pleased with what he hears.