The highly anticipated biopic “Michael,” starring Jaafar Jackson as his uncle, offers a glittering look at the King of Pop’s meteoric rise from the Jackson 5 to the Bad world tour.
Directed by Antoine Fuqua and produced with heavy input from the Jackson estate, the film ends in 1988 and underwent costly reshoots to reshape its third act.
Yet despite the family’s involvement and dazzling musical sequences, it selectively curates Michael Jackson’s story, leaving out or glossing over pivotal and controversial moments that defined his life.
One glaring omission is the full extent of the physical and emotional abuse inflicted by father Joe Jackson.
While the film shows some harsh discipline, it downplays the whippings and terror that left deep psychological scars, as Michael himself described vomiting at the sight of his father.
The movie curiously erases several Jackson siblings.
Janet Jackson is entirely absent, along with Rebbie and Randy, despite their roles in the family’s musical journey and Michael’s life.
This whitewashing of family dynamics raises eyebrows.
Michael’s pivotal role as the Scarecrow in the 1978 film “The Wiz” is completely ignored.
This experience not only introduced him to Quincy Jones but also marked his transition toward solo artistry, a crucial stepping stone omitted from the narrative.
In 1985, Michael made a landmark $47.5 million purchase of the ATV Music catalog, which included Beatles songs.
This business move, advised by Paul McCartney during their collaborations on “The Girl Is Mine” and “Say Say Say,” later led to tensions and huge financial implications but is nowhere to be found.
Jackson’s dramatic physical transformation through numerous plastic surgeries and his battle with vitiligo are barely addressed.
The biopic touches lightly on body image but avoids delving into the body dysmorphia and public speculation about skin bleaching that haunted him.
The horrific 1984 Pepsi commercial accident, where pyrotechnics set Michael’s hair on fire causing severe burns and contributing to his painkiller dependency, is conveniently downplayed despite occurring during the peak of his Thriller success.
Mentorship and rumored romantic links with Diana Ross are excised, including cut scenes featuring Kat Graham.
Their close bond influenced his style and career significantly, just as his platonic friendship with Brooke Shields highlighted aspects of his personal life left unexplored.
Pre-allegation interactions with children at Neverland, including sleepovers, are portrayed innocently or omitted, setting the stage for later controversies without full context.
The film ends around 1988, completely avoiding the 1993 Jordan Chandler allegations.
Scenes depicting the Neverland raid and investigations were reshot and removed due to legal constraints from the settlement.
Subsequent 2005 trial events are also absent.
Later personal moments like his marriages to Lisa Marie Presley and Debbie Rowe, the 2002 baby-dangling incident, painkiller addiction, and 2009 death are left for a potential sequel hinted by “His story continues.”
These omissions, along with the family’s Jehovah’s Witness faith and its clashes with his career choices, paint an incomplete portrait of a troubled genius.
By sidestepping these 12 moments, “Michael” prioritizes spectacle over substance, leaving audiences wondering about the full, unfiltered story of the King of Pop.