Ray (film)

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**Ray**

Director(s)	Taylor Hackford
Distributor	Universal Studios
Honors	2005 Golden Globe-Musical/Comedy nominee 2005 MTV-Movie nominee 2005 Oscar-Picture nominee Score: 18.55
Jamie Foxx’s uncannily accurate performance isn’t the only good thing about Ray. Riding high on a wave of Oscar buzz, Foxx proved himself worthy of all the hype by portraying blind R&B legend Ray Charles in a warts-and-all performance that Charles approved shortly before his death in June 2004. Despite a few dramatic embellishments of actual incidents (such as the suggestion that the accidental drowning of Charles’s younger brother caused all the inner demons that Charles would battle into adulthood), the film does a remarkable job of summarizing Charles’s…

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Amazon.com

Jamie Foxx’s uncannily accurate performance isn’t the only good thing about Ray. Riding high on a wave of Oscar buzz, Foxx proved himself worthy of all the hype by portraying blind R&B legend Ray Charles in a warts-and-all performance that Charles approved shortly before his death in June 2004. Despite a few dramatic embellishments of actual incidents (such as the suggestion that the accidental drowning of Charles’s younger brother caused all the inner demons that Charles would battle into adulthood), the film does a remarkable job of summarizing Charles’s strengths as a musical innovator and his weaknesses as a philandering heroin addict who recorded some of his best songs while flying high as a kite. Foxx seems to be channeling Charles himself, and as he did with the life of Ritchie Valens in La Bamba, director Taylor Hackford gets most of the period details absolutely right as he chronicles Ray’s rise from “chitlin circuit” performer in the early ‘50s to his much-deserved elevation to legendary status as one of the all-time great musicians. Foxx expertly lip-syncs to Ray Charles’ classic recordings, but you could swear he’s the real deal in a film that honors Ray Charles without sanitizing his once-messy life. —Jeff Shannon

Barnes and Noble

One of America’s best-loved musicians, the late Ray Charles deserved a big-screen biography that did justice to his incredible life and career—and he got it, thanks to director Taylor Hackford and star Jamie Foxx. There’s rarely been a biopic that’s done a better job of capturing its subject’s essence, which is why Ray can be forgiven its occasional departures from the historical record. The film doesn’t simply present the hit songs and other professional triumphs, although those are extremely well represented; it delves into the psyche of Ray Charles Robinson, whose destiny was shaped by back-to-back childhood traumas: his brother’s accidental death by drowning, which Ray witnessed; and his sudden descent into blindness a few years later. Driven by his poor but proud mother to succeed despite his handicap, the boy gets an education and becomes a talented musician who eventually carves out an amazing career. Hackford faithfully illuminates scripter James L. White’s biographical narrative, which posits that Ray’s subsequent excesses, including heroin addiction and marital infidelity, sprang from the tremendous guilt he felt for not saving his brother’s life. The film also depicts the difficulty a black musician had in playing white towns during the latter days of the Jim Crow era, which Charles helped end by flexing his increasing cultural muscle. Hackford does not skimp, though, on depicting the spectacular successes that elevated Charles to iconic status, first as a rhythm-and-blues star and then as an innovator who fused R&B and gospel music into soul. The film ends in 1966, but it features many of the songs for which Charles was best known, including “What’d I Say” and “Georgia on My Mind.” Although he’s lip-syncing to the Charles vocal tracks, Foxx perfectly replicates the musician’s stage manner and body language: You’ll swear you’re watching the genuine article in action. Very nearly as good are Kerry Washington as Ray’s long-suffering wife, Della Bea; Regina King as his backup singer and lover Margie Hendricks; Clifton Powell as close friend and business associate Jeff Brown; Curtis Armstrong as record producer Ahmet Ertegun; and Larenz Tate as the young Quincy Jones. The movie doesn’t spare Ray by glossing over his most egregious failings, but it reaches an uplifting climax by showing his recovery from heroin addiction and, more important, his unburdening of the guilt he had long shouldered over his brother’s death. Extraordinarily moving and ultimately inspiring, Ray is among the very best films of this type Hollywood has ever turned out. Ed Hulse