Formulaic but feel-good
MISH-MASH: MUSIC INDUSTRY DRAMA OR DREAM-CHASING FAIRY TALE?
Too many stereotypical characters.
The High Note often strikes the right notes in its emotional journey, but it’s far too formulaic to be considered a smash hit. Directed by Nisha Ganatra, from a story by Flora Greeson, the production throws a spotlight on the Los Angeles music industry (again), the players who make it tick, including an arrogant diva, and the fierce ambitions of a young woman whose dream is to become a record producer.
Driven by an entertaining soundtrack, The High Note is attractive and stylish, but too lengthy in its execution, too contrived in its telling and with too many stereotypical characters.
Dakota Johnson, who rose to screen prominence in the
50 Shades of Grey series, is the binding factor as Maggie Sherwoode.
Daily she slaves away as the long-time personal assistant to legendary R&B singer Grace Davis (Tracee Ellis Ross).
Davis still has a successful touring career despite not having released new material for a decade.
The unflappable Maggie has a full day taking care of the numerous whims of this annoying, self-absorbed artist.
Secretly, though, she yearns to become a record producer, having gained some experience by remixing Grace’s songs in her spare time.
Grace’s arrogant, foulmouthed manager, Jack Robertson (Ice Cube), believes that his client’s time has passed and she should accept a residency in Las Vegas and continue to release live albums rather than record new material.
Maggie’s life changes when she meets aspiring musician, David Cliff (Kevin Harrison junior), and watches him perform outdoors.
Impressed by his voice, she lies about being a professional producer and offers to work with him on an album.
He accepts and the two begin working together with Maggie coaching him through his nerves. Grace is kept in the dark. The narrative splits into two: Maggie’s relentless ambition to produce and Grace who is rethinking her career moves.
The challenge here, however, is that The High Note cannot decide whether it is a drama about the music industry or a chase-your-dreams fairy tale. Canadian-American director Ganatra stretches the story out but manages, in the process, to extract two nicely judged performances from both Johnson and Ross, even though their characters are somewhat clichéd entities.
Overall, though, it’s a feel-good movie that comes just at the right time as we move into Level 1 of the lockdown.