Regardless of how famous or infamous their subjects might be biopics are a hard sell. Even when the movie has artistic worth, a swash-buckling narrative and a fascinating protagonist, the cinema going masses tend to scoff and think, “M’eh. I know what happens to that guy ‘cos he’s dead already.” The muso-biopic has the odds stacked against it further because the filmmaker has to appease the copyright holder, most often the subject themselves or Michael Jackson’s mob associates. Hence, most of this unlovely sub-genre is either fawning hagiography, crap karaoke or some misbegotten hybrid, like the recent shudder-worthy De Lovely.
The delightful, swinging Ray, however, has adroitly avoided all such potential hazards. It wasn’t easy. It’s taken director Taylor Hackford (An Officer And A Gentleman, The Devil’s Advocate, Proof Of Life) fourteen years courting producers, studios and, of course, Ray Charles himself to get Ray into a cinema near you, but thank goodness he did.
The unembellished biographical details alone would make for splendidly dramatic viewing - blind piano virtuoso struggles with fame, smack-addiction, racial prejudice, a voracious sexual appetite and unimaginable personal tragedy while preaching a profane gospel at the ivory pulpit. But Hackford’s remarkable portrait, produced with Mr. Charles’ full cooperation, is elevated to a whole other plain by Jamie Foxx’s storming central performance. Reader, it’s something to see. Though regular Foxx-watchers are prone to gushing about the former comedian’s star-making turns in Any Given Sunday and Collateral, even these folks have been dumbfounded by his electric, uncanny and achingly poignant impersonation of the Genius After Hours. Little wonder that Foxx is the bookie’s favourite for this year’s Best Actor Oscar.
Of course it helps that the actor, is himself, a former piano prodigy, capable of keeping pace with the recordings, some of which are never-before released treasures from the archives. One scene in particular - when he starts hammering along to a 1964 live version of ?‘What’d I Say’ - is simply one of best musical film moments in recent memory. It’s kicking. It’s swaying. It reminds you why, after Charles’ death in June of last year, Paul Schaffer postulated that Christopher Columbus only discovered America so the world could have Ray Charles.

120mins. Cert 15pg. Opens January 21st.