The High Note

The High Note
Starring Dakota Johnson, Tracee Ellis Ross, Kelvin Harrison Jr., Ice Cube
Directed by Nisha Ganatra

The music industry has radically changed since the 50s and 60s, when it was more about the music than the appearance of the singer, and the likes of Etta James and Ella Fitzgerald became icons of the industry - something that probably wouldn't happen today due to their age and looks.  Now it's all about image, and the actual music takes a backseat to that, because now you can autotune anything and make anyone sound good.  This is the backdrop for "The High Note," which, unlike its title, fails to hit the most important notes that were almost literally laid bare before them.

Maggie Sherwoode (Dakota Johnson) has been working for three years as a personal assistant to superstar singer Grace Davis (Tracee Ellis Ross), but she's always longed to be a producer and make a name for herself in the history of music.  She secretly works on producing Grace's singing, all the while pushing her to release new music despite her manager Jack's (Ice Cube) misgivings, thinking they'll make more money if she just re-releases her old music live and take a residency in Las Vegas since she's basically past her prime in age.

Meanwhile, Maggie meets aspiring musician David Cliff (Kelvin Harrison Jr.) and tells him that she's a producer, and that she'll work with him to make his first album.  The two begin a relationship as she helps him come out of his shell, but the juggling Maggie is performing threatens to crumble around her as the truth comes out.

"The High Note" could've focused its time on the concept of the music industry and how it treats the less-than-desirable age marketed singers, but instead it puts that on the back burner to focus on a shoe-horned love story that doesn't feel natural.  It also relied too heavily on listing famous names throughout - so much so if you played a drinking game everytime someone mentions a famous singer or actor, you'd be totally wasted by the thirty minute mark and suffer alcohol poisoning by the end.  It's a shame, because there was so much potential to be had for the film to shine a light on something that's been pushed under the rug for years, but instead settled for the mediocrity for a traditional rom-com with all the traditional fixings.

Whenever I hear a singer has decided to do a residency at Las Vegas, I feel that it's the death knell in their career - they've reached the over-the-hill age over 30, and have been basically put out to pasture to be put down in a slow, silent death.  This is what awaits Grace Davis in the film, a woman who was once at the top of her game, but due to her age and skin color, hasn't released any new music in a decade because audiences wouldn't be interested to hear it anymore.  Everyone has pretty much given up hope for her, except her long-suffering assistant Maggie, who wants to produce new music for her.  Tracee Ellis Ross (who's the real-life daughter of the icon Diana Ross) brings forth a unique, spellbinding performance as Grace - an artist who doesn't always act like a diva, but sometimes shows hints of regular humanity, something I'm sure she pulled out of her wealth of knowledge growing up in the music business.  Unfortunately, her role is sidelined to a supporting character (which is ironic due to what I said previously about the film's ability to shed light on such ageism) and the highlights of the film is when she's on screen.

Ross's role is diminished so the relationship between Maggie and David can be brought to the spotlight, but it's a romance that no one asked for.  We all know the eventual pitfalls they'll face since Maggie lied upfront about being a producer (seriously, every rom-com has someone who lies about who they really are thinking no one will ever find out - but of course they do), and Maggie and David work better as friends than lovers.  There isn't that romantic chemistry between Dakota Johnson and Kelvin Harrison Jr., but rather a friendly brother-sister vibe that makes the relationship feel more forced and unnecessary.  Johnson's role itself is rather two-sided, as one minute she's in the face of another producer who wants to incorporate modern autotune effects to Grace's singing, and the next she's a mousy timid woman who's afraid to speak her mind.  Dakota Johnson has a sweet aurora around her that exudes sweetness, and it doesn't work when she tries to be tough in the process.

The music itself is rather stellar, allowing Tracee Ellis Ross to showcase her family's natural singing ability and talent, but is again overshadowed by the romance the film tries to push.  She even mentions in the film that only five women over forty have had number one singles (Sia, Madonna, Bette Midler, Cher, and Tina Turner - although Aretha Franklin had one as a duet with George Michael and Mariah Carey recently had one as well), and this topic could've - and should've - been more addressed in the film.  It could've been a rebound for Grace to rise to superstar status again, but surprisingly the spotlight is taken from her and placed on Maggie's sheepish, dull character.

Missing the mark on what could've been a compelling story and instead relying on the classic rom-com blueprint, "The High Note" misses the sweet note and instead churns out another typical film that sidelines its biggest asset in favor of its biggest weakness.

The Score: C+