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[Bug classpath/62643] New: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full
From: |
umdjy at abyssmail dot com |
Subject: |
[Bug classpath/62643] New: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full Movie in Putlocker |
Date: |
Mon, 01 Sep 2014 18:17:44 +0000 |
https://gcc.gnu.org/bugzilla/show_bug.cgi?id=62643
Bug ID: 62643
Summary: @@@S!R!~KhAoDa!!! Watch Get On Up Online Full Movie in
Putlocker
Product: classpath
Version: unspecified
Status: UNCONFIRMED
Severity: normal
Priority: P3
Component: classpath
Assignee: unassigned at gcc dot gnu.org
Reporter: umdjy at abyssmail dot com
James Brown embraced many a moniker over the course of his 50-year career:
TK,
“The Hardest Working Man in Show Business,” and later, �
��The Godfather of Soul.”
A bundle of raw energy bolted through song, swagger, and mashed potato dance
moves, modesty was not Brown’s forte. The peculiar disconnection ma
y have been
his greatest asset.
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====
In Get on Up, the first Brown biopic with Hollywood sheen, star Chadwick
Boseman takes the stage swinging, glowing with a confidence to match his
non-fictional counterpart. Though the actor lip-syncs his way through Brown
’s
electrifying discography, it’s impossible to tell. His vocal physic
ality,
choreography, piercing eyes, and every bead of sweat that trickles down the
man’s forehead is transportive.
Much like his sweet, conventionally rendered 2011 feature The Help,
writer-director Tate Taylor’s portrait of an artist is an impressio
nistic
paint-by-numbers, daring in form without the style or soul to make it count
. It
works for Taylor; Get on Up keeps the spotlight locked on its dynamite cast.
Coming off his role as Jackie Robinson in 42, Boseman proves himself one of
the
hardest working men in modern show business.
Get on Up traces a jagged line through Brown’s youth in 1930s Georg
ia, his time
on the road as a R&B mega-act, and a dizzying late existence that saw the
singer pursued by police after firing a shotgun inside a strip mall. Brown
emerges from the friction of nature and nurture; Early on, Brown’s
violent
father chases his mother (Viola Davis) out of the house, out of his life. T
he
trauma keeps young James searching for the ethereal joys that later fuel his
music and imbues the boy with the same abusive tendencies. Taylor’s
time-traveling juxtaposition strikes down like a thunderous chord. What cou
ld
be on-the-nose keeps up with Boseman’s ferocity.
When the beat slows down, Boseman and Taylor never falter. At 17, Brown ste
als
a three-piece suit and winds up with a five- to 13-year prison. He’
s rescued by
divine intervention — or the music that might accompany one. Brown
shows off
his vocal skills for Bobby Byrd (Nelsan Ellis), lead for a local gospel gro
up
performing for the inmates. Sympathetic to the wayward spirit, Byrd helps B
rown
obtain parole and return to life as an adoptive member of his family. Brown
returns the favor by igniting Byrd’s routine with rock and roll. Bo
seman’s
charm — and surface-level impersonation — sell Brown as a r
enegade. Loose, he’s
a criminal. Entranced by screaming audiences, he’s a musical medium
channeling
a higher power.
Taylor overstuffs Get on Up in an effort to balance out Brown’s
self-mythologizing. The writer-director finds room for socially-charged dra
ma
that, whether 100 percent accurate or not, add a percussive beat to the typ
ical
biopic blueprints; In one of the film’s most riveting scenes, a you
ng James is
blindfolded by a white man and forced to box one-armed against a pack of bl
ack
kids. Time propels forward: Brown will not be a puppet, will not play by the
rules. Later, Taylor recreates a concert performed the night after Martin
Luther King Jr. was assassinated. White cops keep wild, devout fans at bay,
assuming a riot is matter of if, not when. Taylor is confident enough to wh
ip
us out of the Brown story proper and into the cultural frenzy, what it felt
like to live outside Brown’s saga. It’s exhilarating.
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