For fans of songwriter and singing sensation Sia, a movie centered around her music, entitled Music, is a welcomed arrival. For everyone else, well…
Sia wrote and directed Music in what serves as her cinematic debut in both arenas. Her musical brilliance is no stranger to the art of the visual—whether her music videos or her tunes being used in other people’s movies. The thing about making a movie is it comes down to—what are you trying to say? Even the silliest flick has a point, or at the least a filmmaker who is attempting to say something through her or his interpretation of the script and the story at its heart.
So, what is it that Sia is saying with Music?
The film finds Kate Hudson’s Zu discovering that her stepsister, Music (Maddie Ziegler) has lost their grandmother Millie (Mary Kay Place) and that makes her the teen’s guardian. There literally is no one else. Zu is newly sober, and this kind of challenge is enough to derail even the most grounded of souls. Music is on the autistic spectrum. She is accustomed to her routines and has specific needs that must be met during any given portion of the day. Anything different or is an alteration to her slate results in her having an episode. That, broadly defined, finds her banging her hands against her head and generally “flipping out,” as Zu puts it.
Now, there’s been a swirling controversy around the film and its depiction of someone on the spectrum by folks in the autistic community. That became amplified when the film scored a number of Golden Globe nominations including Best Picture, Comedy or Musical, and a Best Performance by an Actress in a Motion Picture – Musical or Comedy nod for Hudson.
The complaints commence with the opinion that someone sharing the condition that Music has, or we think she has, should have been played by an actress who also is on the spectrum.
Then, there’s a couple of scenes where Music’s episodes are squelched by forcible restraint and whispering calming and loving words to her. No question, those scenes are difficult to witness. The thing is, according to Sia, she consulted with experts in the field who informed her that given the description of the character that she provided, that reaction would be the best. She has since apologized for taking their word as gospel without conferring with others and portraying the forcible restraint on the screen.
The film now contains a warning about those scenes, but we suspect the damage is done. The thing is, and for someone like myself who read nothing about the film prior to experiencing it, it is never outright said or established that Music is autistic. As the film commenced, it was clear that she has some major mental and physical issues. But one could reach the conclusion that she had brain damage from infancy or an accident of some sort later. The word “autism” or any relative of it is never once said by any single character in the film. That doesn’t excuse the action, but perhaps it puts it in a little better context.
Now, the film’s description on IMDB and other locates includes the word “autism” to detail what Music’s issues are but if you entered Sia’s directorial debut, as I did, without reading any of those materials, you might come to the same conclusion.
Over the course of the film, there are numerous things that Music does that had me thinking that yes, she is on the spectrum. The amplified aspects of her persona, such as her sensitivity to noise (thus, why she always has headphones on) are a clue. She can hear conversations over a block away—which would be wholeheartedly disturbing to have all those voices in your head when simply getting through each day is a challenge.
Taking the controversy away for a moment and tackling the film itself on its merits in a critical manner, let’s just say this—for fans of the songstress, this is a movie for you. It is a gift, a love letter if you will, to her appreciators and those who at least enjoy her songwriting or singing. Music also firmly celebrates aspects of life that have always been found in her lyrics, such as finding your voice and the innate need for all of us to have a family—regardless of what is comprised of.
As we meet her, Zu is just trying to survive. She is in court-ordered support group meetings and is honestly there just to get a signature for the judge. The character, as Sia wrote her, seems like the last person who should be left in charge of anyone who has mental and physical challenges. She has help from a few folks who have grown quite fond of Music over the years, including next-door neighbor Ebo (Leslie Odom Jr., Hamilton, and the recently released One Night in Miami) and their building’s fix-it man and manager, George (Hector Elizondo).
There’s not much backstory given to George, other than he used to help Millie with Music and that is honest the sense we get from the entire Los Angeles neighborhood. Everyone knows Music and keeps an eye out for her and on her when she is out and about (one of her daily routines is a walk around the block). That is especially true for her neighbors. Ebo, on the other hand, is given a rich history that includes his move from Africa to America with boxing dreams in his eyes. He currently is a coach/mentor at the local gym for disadvantaged youth. The biggest thing one notices immediately about Ebo is that he has an exceptional connection with Music. There’s a bit of a spark between him and Zu that is hard to ignore, and it is one that will become complicated as Sia’s film progresses.
Zu, meanwhile, is trying to make it day to day, financially, emotionally, mentally… you name it. Having a step-sister who needs almost constant attention does not fit in with her world. Hudson is fine, doing a decent job of capturing this character. But I would argue that the Golden Globes nominated the wrong sister. Again, taking away the controversy… what Ziegler captures with her performance is a revelation. She is stunning and says so much without uttering a single word. One can see why autism advocates would prefer an actress who is on the spectrum to portray Music. No question. But let’s not take away anything from the seismic announcement that is Ziegler and her hitting all the right notes with Music.
The musical aspect of the film is actually rather simple to describe. It’s not like a traditional musical where characters spontaneously break into song. In Sia’s film, the songs come through the eyes of Music as she sees any particular situation… and each is an electric and visually stunning way of illustrating just how this young girl sees the world around her. The dazzling costumes, the colors of the set during these sequences are pure Sia. The palette practically explodes off the screen in the most visually mesmerizing way.
Hudson, Odom Jr., and Ziegler each deliver divinely in the singing department. Having heard Sia’s voice, you may be wishing she had sung these insanely catchy and narrative-moving tracks. But her stars are up for the challenge and bring her songs to life brilliantly. There is no question that these musical interludes are the highlight of the film. Immediately after the film concluded, I went to Spotify and searched out the soundtrack. As I stated, for fans of the artist behind this film debut, this is a cinematic experience for you, sonically and visually.
Just as it is hard to separate an artist’s art from their political or societal opinions for some, it is surely a challenge to remove the controversy from the overall quality of the Music experience itself. It feels strange to laud a film that so many have had issues with. But if you are one of those who can look past the complaints, and enjoy the world of Sia, then Music is the musical movie for you.
In terms of the artists’ ability as a filmmaker, it is a pretty decent debut. There is no question that she possesses an artistic touch that is uniquely hers and that bleeds through every single frame of her film. Sia has always had a lot to say. So, here’s hoping she takes the controversy and criticism surrounding Music and takes it all to heart, and utilizes it as an opportunity to grow. Then, I hope she returns to the medium that is also firmly in her wheelhouse with its crossroads of music and narrative storytelling.
Grade: B-