Director: Dan Reed
Stars: Michael Jackson, Wade Robson, James Safechuck
Synopsis: At the height of his stardom, the world’s biggest pop star, Michael Jackson, began long-running relationships with two boys, aged seven and ten, and their families. They now allege that he sexually abused them.
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Off the Wall, released in 1979, paved the way for Michael Jackson to officially BECOME Michael Jackson. It is perhaps the greatest disco album of all time, and arguably the disco album to end all disco albums; without it there would never have been world’s greatest-selling Thriller (1982), the synth-driven maturity of Bad (1987), or the New Jack Swing of Dangerous (1991). It is also one of my top 5 favorite albums of all time, a musical nerd-ism I used to take pride in saying. Now, I may need to take a step back and consider that response; but should I even half to?
We all should not only be aware of Michael Jackson the artist, but Michael Jackson the man, and his most arduous lifestyle. Michael was nicknamed “Wacko Jacko” by no mere coincidence, as his lifestyle straddled the line between the bizarre and, according to the new documentary Leaving Neverland, the downright unforgivable. Accusations of child sexual abuse against Michael have been going on since 1993, but it’s Wade Robson and James Safechuck who have now come along to recontextualize what we as fans have been wrestling with for over two decades; was it all true?
Leaving Neverland focuses on Wade and James’ respective stories, strictly from their points of view; this much I expected. What I did not expect was a documentary that questions (and sometimes even contradicts) itself. It’s a movie that begins and ends with both love and hate for Michael, viewing the accused with some sense of open-mindedness, from a man who did the worst of things but also never had a proper childhood of his own, something that Wade and James, as well as their families, emphasize throughout the documentary. And in the case of Michael Jackson, this perhaps inadvertently tackles the notion we as critics and fans of art (and even sports) continue to grapple with all the time; is it possible to separate the man from the art? Leaving Neverland seems to make both arguments simultaneously.
Perhaps this is a contributing factor as to why the film has garnered so much controversy, as director Dan Reed still retains some pity for a man that abused his power as a celebrity. There’s no arguing the cruelty in Michael’s actions, if we choose to believe in Wade and James’ stories (and for the record, I do believe them), and Reed does not shy away from the gratuitousness in what Michael did to Wade and James (forewarning, this film is a tough watch for those who cannot handle such graphic testimonials). The film also does not include statements from those closer to Michael (such as his family), and with Michael Jackson now dead, he is no longer here to defend himself. Many fans and friends of Michael have already voiced their frustrations, but these are all deliberate choices from Dan Reed, as it is clear from the onset that he is making a film that serves as both a warning and an awakening for all victims of child abuse, no matter the ramifications. It may be from a one-sided perspective, but it is not one-dimensional.
Despite Michael no longer being around, Reed hopes to grant us the ability to open up about past traumas regardless of the potential backlash, emphasizing how it is psychologically beneficial to do so. A common defense, and key thematic notion here, is blame; blame toward others or against yourself. This is depicted by Wade and James’ mothers, who constantly question what they themselves could and should have done differently, something we as viewers question do too, given the fact that these parents openly let their children stay in the same bed as an older man without considering the awful consequences. But Reed isn’t interested in pointing fingers, and wants us as viewers to be mindful of that. Leaving Neverland is a story about admittance and opening up, and how poignantly ironic it is that Wade and James choose to open up after becoming fathers themselves, when each of their respective father figures were barely in the picture (just as it was for Michael Jackson himself). While its focus is on the Robson’s and the Safechuck’s, Leaving Neverland is a calling to all of those speaking out about their abusive pasts. But it extends even further than that, as it is also an invitation for us as fans of Michael Jackson and his music.
Perhaps this is where I need to get a little musically selfish, because I cannot talk about Leaving Neverland without looking at it through a pop culture window as well, especially when the very notion of artistic integrity is put under the celebrity microscope. As viewers, we are left with lingering questions regarding Michael as both a man and the King of Pop. Is it possible to still enjoy his music, given his actions as a man? Were his actions deliberately manipulative or rooted in childhood innocence? Or both? To take it a step further, is it possible that the success of his music was fueled by his inappropriate behavior, and his cruel actions served as his form of artistic inspiration?
Whether it be intentional or not, Leaving Neverland urges us as fans of art to consider the grey areas around the integrity of the artist versus the integrity of the man; can they be separated, or are they mutually exclusive? Dan Reed has a lot on his mind; he believes in Wade and James’ story enough to emphasize the damaging effects of sexual abuse on children and their families, hoping to help others in the process. But he’s not out to convince you of Michael’s villainy, and is instead asking you to consider the ambiguities; even Wade and James themselves, willing to admit that Michael was not a good person, still cannot help but acknowledge the love they had for him, and the influence Michael had on their respective careers (Wade especially, who would go on to become *NSYNC and Britney Spears’ choreographer). Reed wants us as fans of Michael Jackson to consider the relationship we have with the artist; we should not let our fandom cloud our judgment, nor should we simply brush these issues aside because it’s easier to ignore or refuse to believe. Reed never discredits Michael Jackson as an artist, suggesting that being able to continue separating the art from the man is just human nature. Just like the documentary, we too should keep an open mind, and despite the coincidental name of a classic Michael Jackson song, sometimes these situations aren’t so “black or white”.
I have chosen to keep that open mind as well. Having spent four hours with Wade and James, I do believe in their story. And as a big Michael Jackson fan it pains me to admit that, and yet I still choose to remain a fan of his music; as a musician, my playing and writing style will always be influenced by Michael, and that will never change. Just as much as Dan Reed is emphasizing the humanity in this story and the power of opening up, he is also arguing in support of artistic perspective. Perhaps the integrity of the artist has been compromised, but maybe the art itself doesn’t have to be; I like knowing that that’s up to us as fans of art to decide. In the middle of this story is one of innocence lost, even when it comes at the cost of musical and artistic discovery. Having now left Neverland, hopefully Wade and James can finally grow up.
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Hear our podcast review on Extra Film here!
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