Cadillac Records (2008) User Reviews

GREAT Music, Flashy Nostalgia, Fascinating Cultural History

[Danusha_Goska · 8/10 · 21 December 2008]

"Cadillac Records" is a fun, fast, flashy introduction to the world of Chess Records. In the 1950s, Leonard Chess, a Polish-born Jew in Chicago, along with his brother Phil (not seen in this film) produced "race" records by African American blues and rock and roll legends like Muddy Waters, Howlin' Wolf, Chuck Berry and Etta James.

These artists' work had huge impact on popular music; the Rolling Stones are shown on a pilgrimage to Chess Studio. Their music is great and is played all but non-stop on the soundtrack, which is a very good thing. Flashy glimpses into the glamorous styles of the 1950s and 60s include loving looks at the many Cadillacs Chess gives as gifts to his star performers.

Jeffrey Wright is quietly compelling as Muddy Waters. Mos Def is a charming Chuck Berry; he really communicates the charisma that Berry exuded to his adoring female fans. Eamonn Walker is terrific, and appropriately intimidating, as Howlin' Wolf. Walker electrifies the screen with his every morsel of screen time; I wish that after they'd finished "Cadillac Records," they had just kept the sets up and kept the cameras running and began a biography of Howlin' Wolf with Walker in the lead. Beyonce Knowles is very beautiful and pays worthy tribute to Etta James, the singer she plays.

"Cadillac Records" feels a bit rushed, and not as deep and probing as it could have been. Perhaps much backstory was cut out? A shame, because Adrien Brody, a brilliant and compelling actor, is not given enough to do.

So much more could and should have been said about Chess the man and his motivations, and the complex relationship he had with his singers. There is the story that Chess put Muddy Waters to work painting his ceiling. Some accused him of paternalism; curious viewers are advised to pick up Nadine Cohodas' book "Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records." Also, "Cadillac Records" can't avoid the clichés inherent in music biopics: the innocent character is introduced to drugs for the first time, and is ruined by them; the self destructiveness of brilliant people, the exhilarating, brutal, rags-to-riches-to-obscurity trajectory of show biz careers. For all that, "Cadillac Records" is fun and it makes you want to learn more about an important cultural moment in American history.

this movie lets appreciate music that would otherwise be overlooked

[infinitylies · 8/10 · 16 December 2008]

The trouble with these kind of movies is that they will never satisfy the purists among us. OK so maybe it glosses over the facts and makes the history all shiny and Hollywood, but I will see how many people will come away from this movie WANTING to find out more about the history of blues.

So what if its not perfect, if you want a perfect history you will go and buy a documentary on the subject. I want to be entertained when I watch a movie not sit there and critique history.

I think all the performances in the movie are convincing and great. I especially loved Beyonce, she just seems to ooze talent, although the on-screen time is shorter compared to Dreamgirls, she is extremely commanding.

As for the covering Etta's song, these are outstanding. I am in love with the songs all over again, and in love with these versions.

Condensed Cream of Crop (Not Crap!) in Well-Cast Musical Biopic

[dtb · 8/10 · 3 February 2009]

Anyone remember those old K-Tel compilation albums with the hits slightly sped up so the K-Tel folks could pack in more songs? CADILLAC RECORDS (CR) gives a similar treatment to the story of Chess Records, nicknamed "Cadillac Records" because the Polish-American Chess brothers, Leonard and Phil (Adrien Brody and Norman Reedus, reunited from the film SIX WAYS TO Sunday), would give the artists Caddies as rewards -- out of the artists' own royalties! Chess Records got the music of Muddy Waters, Etta James, Chuck Berry, and other seminal R&B performers out to the general public, climbing the charts as what were then called "race records." Perhaps because of time and/or money constraints, writer/director Darnell Martin seems to rush through the Chess stars' highs (sometimes literally, with scenes of drug and/or alcohol abuse) and lows, forcing her to condense her subjects' dramatic life stories to the point where they don't even seem to age (other than a few perfunctory silver streaks visible in Brody's hair late in the film) despite the indication that years have passed. Even the Chess brothers' own story is only half-told, with the focus being on Leonard as Phil is rendered all but invisible. Heck, for half the film, I thought Phil was just another sound engineer, since we in the audience only ever see him during recording sessions! That said, I still found a lot to like about CR. I was riveted and moved by the events and the performances, and the musical numbers kick butt; I want the soundtrack (maybe even the original versions of the songs :-))! Jeffrey Wright commands the screen as Muddy Waters, who becomes Chess Records' first star, complete with groupies. He comes home one night to find wife Geneva (sympathetically played by Gabrielle Union) with a baby in her arms -- left there by a fan who says Muddy's the father. Mos Def adds sly humor as Chuck Berry. Eamonn Walker is downright scary as Muddy's rival, Howlin' Wolf. Columbus Short breaks your heart and drives you crazy all at once as Little Walter, whose lack of a mother or self-discipline proves to be his tragic flaw. Beyoncé Knowles shows she has range as both an actress and a singer in her fiery, heartrending portrayal of the talented but troubled Etta James. Leonard tries to help Etta to learn to "sing the blues, not live it," but with Etta's emotional baggage, that's easier said than done. Things only get more complicated when she and Leonard become attracted to each other despite his having a sweet, pretty wife, Revetta (Emmanuelle Chriqui). I'm not surprised that in real life, Etta herself gave her blessing to Beyoncé's soulful rendition of "At Last," the ultimate make-out song and Presidential inauguration anthem! :-) Although Leonard Chess is almost more like a host here than a well-drawn character, Brody nevertheless works well with the cast and has great chemistry with Beyoncé. In fact, he gets a good amount of on screen love action, including a nude scene with the fetching Chriqui! :-)

Very dark & fictionalized story, but it serves its purpose

[rooprect · 6/10 · 21 February 2010]

Wow, I've never seen a biopic take such liberties with facts... to the point that the film even invents a murder that never happened. But in all fairness, so did "Amadeus".

The point of the film, however, is not to present facts but to foster interest. That much is said in the director's commentary: she says that if people become interested to learn more about these (and other) classic artists, then the film has done its job.

Then by all means, it succeeded. The names of Muddy Waters, Etta James, Little Walter & Howlin Wolf have always been a footnote to the general public (including myself). But now I'll definitely take notice.

If you're already a blues aficianado, then I doubt you'll care much for this film. But if you're part of the target audience--those who are not familiar with the origin of rock'n'roll or who think erroneously (as I did) that Elvis was the one who started it all--then this movie is worth a watch.

I'll give you one warning. It gets ugly. This is NOT a film to be showcased during Black History Month! It portrays many of these artists at their worst: drug-addicted, alcoholic, violent, sex-crazed, uneducated, selfish and perpetually angry. The film has a very cynical, malicious vibe. But I think this was done with a specific intent; the director seemed to be making a strong metaphor to today's gangsta rap, probably with the hopes of reaching a young generation that never appreciated blues & rock'n'roll. I thought that was an interesting angle, though it must offend many blues purists.

So there you have it... Don't expect facts. Don't expect history. Don't expect many feel-good moments. Instead expect a very stylish drama about the Chicago 'hood with a lot of sex, drugs & rock'n'roll. I know it sounds like I'm disparaging the movie, but I'm not. I really thought it was an interesting presentation.

Beyonce screams for attention

[MoonCayndie · 6/10 · 26 April 2020]

I wish they would've put Etta James' original music in the movie. I mean Beyonce has her own songs and her own story to tell. Why would Beyonce that moment away from Etta? They should've used Etta's music. It's her voice and her story! Putting Etta's original songs would've added more to the movie.

Some Brilliant Moments, But Shockingly Bad Overall

[Dan1863Sickles · 1 November 2011]

I wish I could say I loved this movie. The artists at Chess Records have been my heroes for more than thirty years. I really wanted to love this movie, but I just couldn't.

It wasn't the historical errors, but just a whole lot of really bad acting, and the way certain performers (Jeffrey Wright as Muddy Waters) turned incredibly powerful, charismatic creative people into boring, drippy, whining losers. What's even more frustrating is that Mos Def is passable as Chuck Berry, and Eamonn Walker totally nails Howlin' Wolf -- but those two actors get about five minutes of screen time.

And of course, just to pander to the vast audience dying to see Adrien Brody and Beyonce make out (????) we get a pointless and non-historical "love affair" between Etta James and Leonard Chess.

And just when it can't get any dumber, we have Willie Dixon's voice over, which must have been put in for all the eight year old kids who were presumably dying to watch this movie and learn about the blues. ("Ya see, an acoustic guitar is fine when they ain't nothing' but empty fields around you, but in the city you gots to have . . . an electric guitar.") Thanks for clearing that up, Willie.

This is me, banging my head against the wall.

Another okay movie from Hollywood

[judywalker2 · 6/10 · 7 December 2008]

I guess I just have to face it Hollywood is devoid of good dialog writers and writers in general. Cadillac Records should have been Dreamgirls for the Blues, but the dialog was much too weak to support the tremendous talent that was on the scene. Though the music was nice it was the stories of the principals that should have shined but all they seemed to be able to do was curse and give off quick one liners. My husband forgot about the movie an hour after we left the theater; a sure sign of its weakness. I don't blame Beyonnce, I can understand her not wanting to wait for Hollywood to give out good Black Female roles. I also feel sorry for the likes of Gabrielle Union (also Angela Bassett who I saw in a trailer for another ridiculous movie tragedy). These women deserve better and so do the other great music geniuses of Chess Records. 6/10

Huge

[Michael Fargo · 10/10 · 5 December 2008]

While this film lacks an original framework (it's "Ray" and "La Bamba" and "Hot Wax" and "Why Do Fools Fall in Love"....), both the subject--a seminal recording label--and the performances make this electrifying entertainment.

I can't speak to the accuracy of its historical facts regarding Leonard Chess' exploitation of some of music's largest figures, but the screenplay zooms along and takes us with it. Jeffrey Wright finally gets a role that hopefully will secure his stature. It's overdue. As Muddy Waters his towering strength both as a character and an actor are very impressive here. As well, the entire supporting cast (and it's a large cast) really rise to the occasion. Columbus Short as Little Walter and Gabrielle Union as Water's wife are equally impressive. And in smaller roles, Eamonn Walker as Howlin' Wolf and Mos Def as Chuck Berry nearly steal the show.

I've never been much of a fan of Adrien Brody, but in the first half of the film, he's quite effective. It's only when Beyoncé Knowles arrives that he stumbles, and who can blame him. Ms. Knowles takes a sensational role and scorches the screen. As the conflicted and troubled Etta James, there's a scene on a livingroom floor in front of a fireplace that should win Ms. Knowles many awards. And we're given a generous helping of sensational James' track very well covered by Ms. Knowles.

When we watch America's taste in music change--both before and after the centerpiece of this story--we're at first exhilarated at the discovery of this "new" form of music, and when it wanes and the lives that were propelled to stardom flag, we feel an enormous sadness. But what we know today--that these individuals became legends--is of great consolation.

I don't care that the structure is straightforward. The recreation of the period and it's attitudes are spot on, and the cinematography by Anastas N. Michos make the film rise above any weakness in the script.

Then, there's the soundtrack....

Excellent *Film*, Great Storyline...Looking for blues history go to the History channel!!

[azurelyric · 7/10 · 31 May 2009]

It is interesting so many people have commented on the historical inaccuracies of the film and condemn the film because of this. No one said it was a historical film? It is an excellent film, and I would consider it a lot more than just popcorn entertainment...it has the *flavor* of history. And what is this about looking for historical details in the film? The film maker made a great film with a storyline built around music. We don't get to see such films which modify facts to suit the narrative and their budget. It made for great, entertaining viewing....One of the things that I have difficulty understanding is when some people either want facts or the book a film is based on to drive a feature film. Unless it's a documentary I don't think the filmmaker is obligated to base the film as such so long as the film openly declares that it is based on facts or book...i.e. it is not claiming to be factual but simply derives it's basic storyline from either as the case may be...beyond that the film has artistic license to adapt the historical or fictional narrative for the film. But if a film faithfully represents history or a particular book, that is welcome too.

Cadillac Records was focused on Chess Records and some of it's principal artistes. Who cares if there was a second brother or that there were other artistes....the film maker told a fictional interpretation of the facts and made it a thoroughly enjoyable film. We learn to care for the characters and get to experience their struggles, frustrations, relationships, foibles and talents etc.

Consider this too "fact junkies" - how many movies out there make for a good story to an audience who is NOT into a particular genre of music or art form, and yet gives them some inkling that a particular topic was loosely based on facts or a book. Whether or not everyone who saw the film came away convinced of it's historical inaccuracies, I am confident that those who did not care about such inaccuracies or even the blues, they certainly came away with a better perspective of a small aspect of the history of the blues (and some aspect of rock music) as well as a record company owner who supported and helped some musicians to become big names in the business. Such a segment of the audience would be unlikely to go see a documentary on the history of the blues. The film introduced the blues by making them accessible to an audience segment who otherwise would have been in the dark.

Getting down to the film, ALL actors portray their characters very well. I thought Eamonn (sp?) Walker and Beyonce playing Howling Wolf and Etta James respectively were quite simply amazing. Beyonce especially. Both their performances were riveting. I refer to them specifically because they had relatively smaller parts compared to Adrien Brody and Jeffery Wright, who did a fantastic job as well. If you see films to enjoy a good story...you have one here in spades. And it is sad that the movie did not get to play in theatres as long as it ought to have. This is a loss for film viewers as much as it is for the filmmakers who made it. But I know this movie is getting more play on DVD because word-of-mouth is getting around. Highly recommended.

sure, it may have it's share of clichés and pit-falls, but it makes you feel the Blues, deep down your spine, long after you leave

[Quinoa1984 · 8/10 · 5 December 2008]

It's hard to get a feel for a specific time and period in movies let alone an actual mood of a particular music. The best bio-pics on musicians tend to get it just about right (Bird, Sid & Nancy, The Doors, Walk the Line) even if the films aren't great or, even worse, have those tired old conventions of real-life people fit in tidy fashion for a 2-hour storyline. Sometimes all we can hope for is that they get the mood right, and even that isn't attained; some years back the wildly over-praised Ray had strong performances but, to me, didn't really capture that feel of what it was like to be in the midst of something really spectacular- we only saw it being great for Ray Charles (not that his music didn't help the movie, somewhat besides the point).

There's an attitude to a kind of music, whether it's punk or jazz or psychedelic rock or even in "wtf" mode in I'm Not There. The best thing about Cadillac Records, the thing that will have me go back and watch it again more than anything, is that it captures what it was like to be around the one of the significant blues explosions in America. There was always blues in the US in the 20th century, but it grew steadily, out of sorrow and bad days and nights and hate and love gone bad or good for African Americans. Cadillac Records covers some of the crucial blues artists- Muddy Waters, Howlin' Wolf, Chuck Berry (the cross-over), Willie Dixon, Etta James- and how their personalities were shaped by whatever was around them, and then into the songs. We may not get an entire life story out of all those in the film, but unlike Walk the Line or Ray we don't need it at all to know these people, or the characters.

The actors, it should be said, really do a lot of heavy lifting here. The music, it goes without saying, is spectacular and wonderful and often shown as developing out of a myriad of things (frustration, sadness, joy, craziness, anguish, love), but the script does follow some of those lines that are troublesome in bio-pics (one character, Little Walter, is the proverbial black sheep and that's almost all he is, and there's the obvious dippings in-and-out of relationship things).

So, the actors fill in the gaps in the formula, and make it far more enjoyable and full of life than it might have in other hands; this is the wisdom of the director Darnell Martin, usually a TV director. He casts not entirely on if they exactly fit the original people, but if they got the right stuff for the particular person: Muddy Waters, the real bad-ass of the group and the real main character of the story, is given powerhouse form by Jeffrey Wright in every frame; Beyonce Knowles, while hardly the worst thing in Dreamgirls, completely redeems herself and then some as Etta James, going all out in a full-fleshed out dramatic performance (how well she sings is a given); Columbus Short, given the walking cliché of Little, takes it for everything it's worth, and it is never less than interesting; Eaommon Walker (from Oz) is great as Howlin' Wolf in any scene; Mos Def finds the line of hamming it up and playing it for real for Chuck Berry, and makes it work all the way; Adrien Brody, as the token white main player, is given not a lot to work with either, but is also riveting and captivating and a reminder of why he won the Oscar years back.

But with all this gushing about the actors, I shouldn't forget about the music, the blues, all of it lovingly depicted (maybe at times too lovingly- Cedric's narration) while also in rightful critical form on how the blues got completely ripped off by any (arguably talented) rock band waiting in the wings. You can feel the blues dripping off the screen in some scenes in the first half of the film, the scenes with Waters playing in the club or just in his bedroom, or Chuck Berry playing on stage with a mixed crowd, or the dialog in certain scenes. As a fan of the blues, it hit its target right on spot while hopefully converting some who don't know Muddy Waters or Howlin Wolfs' catalogs like Ray Charles. One more cliché to note, a positive one: it gets you whistling as you leave the theater and tapping your feet at your seat. That's good enough sometimes.

Great music, but the editing is choppy at times

[steiner-sam · 7/10 · 14 August 2023]

It's a musical biopic of the Chess Records company until the death of its owner in 1968. It follows the development of commercial blues music in Chicago through the eyes of Leonard Chess, Muddy Waters, and Willie Dixon.

The film opens with Muddy Waters (Jeffrey Wright) singing in the fields of Mississippi but soon follows him to Chicago as part of the great migration. Leonard Chess (Adrien Brody) operates a jazz club in Southside Chicago and begins to produce records. Muddy Waters is his first blues artist. We also meet Willie Dixon (Cedric the Entertainer), who narrates part of the movie, Little Walter (Columbus Short), Howlin' Wolf (Eamonn Walker), Chuck Berry (Yaslin Bey), and Etta James (Boyoncé).

"Cadillac Records" suggests that Chess, a white man, essentially cheated his African American singers through shady contracts. He often bought them Cadillac cars, not telling them that he bought them with their royalties.

"Cadillac Records" musical score is fantastic, especially Boyoncé as Etta James and Eamonn Walker as Howlin' Wolf. I thought Jeffrey Wright didn't quite have the edge of Muddy Waters. Much of the "history" is creative nonfiction. The movie compresses many events and leaves out many nuances. It implies a focus of Chess Records on blues that didn't exist. Adrien Brody makes Leonard Chess an unlikeable man; that was probably an intent that succeeded. "Cadillac Records" clearly shows the place of alcohol and drugs in the blues world.

The film's editing feels choppy at points as it tries to jam 25-30 years of events into coherence. But it all comes back to the great music.

The music is the story of Cadillac Records

[the-movie-guy · 8/10 · 5 December 2008]

(Synopsis) This movie is based on the true story of how a small music recording studio, Chess Records, located on the south side of Chicago, began recording blues music with Muddy Waters (Jeffrey Wright) and Little Walter (Columbus Short) in 1947, and eventually gave birth to rock and roll in 1955 with Chuck Berry (Mos Def). Record producer, Leonard Chess (Adrien Brody) has an ear for this different type of music, and believes he can cash in by signing up new talent such as songwriter, Willie Dixon (Cedric the Entertainer), Howlin' Wolf (Eamonn Walker), and Etta James (Beyonce Knowles). Leonard Chess makes all of his artist part of his family and takes care of them. This is not an easy job for him, because they spend a small fortune on booze, drugs, and the high life. When Chuck Berry goes to jail, Leonard is able to find another talented performer, Etta James, to take his place. In the late sixties, as their music goes out of favor, Leonard Chess gets out of the record business.

(My Comment) This story is not a documentary of Chess Records, but a story about their music. The movie title, 'Cadillac Records,' comes from the fact that Leonard Chess would buy his musicians a new Cadillac when they recorded their first hit record and for each new hit. What the artists didn't know was that the cars were being paid from their record royalties. Leonard Chess treated his artists as family, and the line between business and family sometimes causes conflict between them. If you go to see Beyonce in the movie, you may be disappointed, because she only has a limited amount of screen time with about 3 songs. However, you won't be disappointed by her performance and that of Jeffrey Wright. They make you believe they are Etta James and Muddy Waters, and they actually sing their wonderful songs in the movie. The film can only tell a small part of each artist's story in short scenes, but they are very powerful scenes. (Sony Pictures, Run Time 1:48, Rated R)(8/10)

Rock 'n' Roll: Muddy Waters and a cast of several

[brian_r_wright · 7/10 · 23 June 2009]

At the time, rock and roll is but a gleam in a few unknown musicians' eyes. Through a generous helping of Waters/Walter's and other artists' music—with a fair helping of poetic license—writer/director Darnell Martin tells the relatively unknown story of the headwaters of the river of modern blues and rock and roll. The acting is excellent, and, no doubt, Cadillac Records is Jeffrey Wright's magnum opus to this point. Most viewers will recognize him from roles where he plays "the intelligent black man," and in the movie W, he plays Colin Powell. From the extras on the DVD, one learns that Wright has spent many years, several on stage, honing his craft. And he's good, even great, as the inimitable Muddy. Particularly, he manages the voice well, which is a low, gravelly mumble... though often hard to make out if your air conditioning kicks in.

...

For my complete review of this movie and for other movie and book reviews, please visit my site TheCoffeeCoaster.com.

Brian Wright Copyright 2009

This is mostly fiction and an insult to the artists and the history of Chess Records.

[Vannistelrom · 3/10 · 16 December 2008]

Pretty much everything in this movie is the work of fiction. It reminds me of one of those Simpsons episodes where a TV studio does a biopic and makes up half the story for 'dramatic effect'. But this is even worse- honestly it was bad enough that the stories were fictional, but they are also just an insult to the people (for some strange reason(!) though all except the white studio owner that is, who was a hopeless romantic, who was also apparently the pioneer of the Chicago blues...all things to all men. He was a saint, everyone else, the musicians were anything but(!)) Let's get some facts clear- Leonard Chess set up the company with his brother, after working at another company Aristocrat Records. It was here they worked with Muddy Waters. So no- Muddy didn't meet Little Walter on the street and bring him into his house. And no, little Walter didn't have the hots for Muddy's wife Geneva. Although Leonard Chess was very much hands on when he started the company, by all accounts the guy who really pioneered the classic sound of the records was Willie Dixon. Who is criminally underused and treated as a one trick pony who could only write blues songs. He left in the late 50's to work at Cobra records after being underpaid by Chess- listen to those Cobra records and those at Chess- they sound pretty similar right? That's because Willie Dixon was the pioneer- Leonard Chess was the man stuck in the past.

One example of the film's dreadful portrayal of the individuals is the fictional scene where Muddy Waters meets Leonard Chess (ignoring their prior recording work at Aristocrat records). Little Walter is going to shoot another harp player who has hit him, and Muddy stands in his way. Yet the only story remotely like this in REALITY is when a friend of Little Walter's told his wife to leave a club, and she sat by Howlin' Wolf and refused to go. Little Walter was performing on stage, and had seen Howlin' Wolf get his gun out. He jumped down stage and told Wolf that if he was going to shoot his friend, he'd have to shoot him. He later arranged a meeting between his friend and Wolf, who in fact became friends despite the altercation. Which is why this movie is so frustrating- the REAL lives of these people is nothing short of fascinating, exciting and a great background to their music. By all accounts Little Walter was a bit of a loose cannon, but he was also a real person- not a one-dimensional madman who was out to destroy himself and everyone else around him. The story told in the movie is everything that is wrong with Hollywood- overblown, turgid and full of dreadful 'emotional' scenes (everything with Brody and Beyonce is so clichéd and hammed up that its cringe worthy). While the story here is just dull, the real stories have managed to fill biographies dedicated to each of these artists.

Some more inaccuracies; Little Walter never shot someone just for touring under his name- once again he was no angel, but neither does it seem was he a murderer as the movie suggests. Howlin' Wolf actually stayed with Muddy Waters when he first moved to Chicago- and sometimes they were friends, others professional rivals. Yet Muddy is chosen to be some kind of protagonist who we are supposed to feel sympathy for when another man tries to take his crown. Even worse some of the MORE fascinating characters (with all due respect to Leonard 'bore fest' Chess and Muddy Waters) of Bo Diddley, Sonny Boy Williamson II, Ike Turner or Jackie Brenston are completely ignored. Because these people were irrelevant- Chuck Berry invented Rock N Roll music all on his lonesome and no one else laid the groundwork for that (an especially contrived piece of storytelling when you consider that these guys recorded their seminal records at Chess.) But worst of all is the love story. The entire second half of the movie is dedicated to Etta James and Leonard Chess. Who by the way never had any kind of love affair- and neither did they speak like buffoons to each other about their 'feelings'. Etta James had already been a successful star before Chess- her career if anything went down hill when she joined. One of the more annoying things is that the actors do their own singing- few of them are up to the task. Beyonce is simply dreadful as Etta James vocal imitator. On a microcosm it is a perfect representation of why this is an awful movie. Beyonce's voice is overblown, she has no ability to control her vocal range without trying to jump from top to bottom every two seconds, and ultimately all the soul she tries to put on is clearly just that- put on. She doesn't have the understatement of Etta, the ability to lull you into a false sense of security before taking her voice from 0-60 in a second, and neither does she have that almost primal quality that Etta had back then. Like this movie, Beyonce's performance is overblown and lacks any character or soul.

I understand that some liberties might be taken with a story. For example, for what it is the Temptations biopic is enjoyable- yes there are discrepancies and some things that should have been more central to the story, but it did a good impression of the music and the stories behind them. Cadillac Records however is like the He-Man Masters of the Universe of music biopics- it has little to do with the source material except sharing the names and likenesses of the characters, but any representation of the source material is superficial at best. And that's the only word that really can describe this movie- superficial. You have been warned.

Excellent film.....needed more Chuck Berry

[mauricebarringer · 12 December 2008]

Chuck Berry was the greatest pioneer in Rock 'N' Roll history. He is ranked by Rolling Stone Mag as the 5th greatest performer in its history. He wrote music and lyrics that will live forever, played a tremendous guitar (Rolling Stone Mag lists his as number 6th in their top 100 guitar players list) and sang real well. I wish this film would have concentrated more on him.

I read that Beyonce' gained 15 pounds to play Etta James and weighed in at 135 pounds. Etta James at one time, believe it or not I checked this out, weighed over 400 pounds.

The intent and sincerity of the director and writer was superb, but this film was somewhat flawed with inconsistencies. They had Chuck Berry singing "No Particular Place to Go" at the beginning of his stardom in the mid 1950s.

Actually he recorded this hit record in 1962. In the film Berry sang "Promised Land," a super song but a non hit that never made the top 40. Why did they not have Chuck Berry sing his great hit songs such as "roll over Beethoven," "School Days," "Sweet Little 16," "Rock 'N' Roll Music," "Back in the USA" or "Johnny B Goode"? Also, Leonard Cress never, according to famed music critic George Varga, had an affair with Etta James, and the degree to which Leonard Cress cheated and exploited his musicians was not dealt with.

Ralph Bass, who was not in the film, not Cress produced Etta James' recording sessions and Cress Record mainstays Bo Didley and John Lee Hooker were missing from the film. I do, nevertheless, highly recommend this film and would rate it a 3 on a zero to 4 star scale.

Cadillac Records: A Comment.

[DexterManning · 6/10 · 31 January 2009]

It's a musical showcasing unknown artists who perform songs in strange but inventive ways never heard before. It's about their de facto representative, their rise to dizzying success as well as their many troubles and, in some cases, their fall to dreadful lows. It is about their struggles (and agent's maneuvering) to be heard on the radio and thereby sell their records. It's about life in the big city and race relations during times of segregation. It's about addiction. Clubs. Showbiz. Records. Radio. Payola. Loyalty. Flamboyance. Big houses and shiny, new cars. Fidelity and infidelity. Sex. Drugs. Even rock and roll. And, it's a true story. But, it's not "Dreamgirls." Nor is it "Ray." Or "La Bamba." Or even "Hustle & Flow." Although it does bear more than a little resemblance to those films and others of similar ilk. There are so many films of this type that there should be an actual name for this subgenre, one that sticks.

"Cadillac Records" is much more low-key than "Dreamgirls" (more similar, perhaps, to "Ray"). Its cinematography and production design (by Anastas Michos and Linda Burton, respectively) are much less dazzling and flamboyant. And it is much less hyped. But it works reasonably well as a film, which, when making a movie, should be the first and foremost goal. Although it is not inspired enough to break away from the typical artist-biography path, it does tell its story better, is better directed, features better acting (Knowles included) and is better accomplished in terms of basic film-making technique (e.g., editing) than "Dreamgirls." Nevertheless, like any such musical, the standout feature is the fine music, the whole reason the film exists, crafted for fans and fans-to-be.

Skip the parts with Beyonce

[MikeK1987 · 6/10 · 6 November 2010]

As a musician and a fan of most of the acts portrayed in this film, I was intrigued. And indeed, it is a good biopic of sorts that does justice to Little Walter, Muddy Waters, Howlin' Wolf, Chuck Berry, etc., and the way that those great records were made. Adrian Brody and Mos Def are especially fantastic. I rarely ever get disappointed with their movies, except for "Predators" and "Be Kind, Rewind", respectively. The former was just overall terrible and the latter was boring.

"Cadillac Records" does however have one MAJOR drawback. Beyonce. For starters, I can't stand her voice. Doesn't matter if she's singing her crappy pop music or doing Etta James songs. Also, she can't act. Comparing this role to her role in the travesty that was "Austin Powers: Goldmember", where her lines were nothing more than stereotypical blaxploitation toss-offs, in "Cadillac Records" all of her lines are the usual music bio-pic rigmarole. And in both films, they're delivered with the emotional range of a piece of cardboard.

So, if you like musical bio-pics or are a fan of any of the people involved with either the story or the movie itself, give this a go. But be sure to fast forward through the parts with Beyonce. You'll thank me for it later.

I'm no scholar on this history and it's music, but Beyonce was great to watch

[charles000 · 6/10 · 27 December 2008]

I can't claim to have the technically detailed knowledge of this history as some here who have commented on such, but just for the fun of watching this film unfold, it was certainly enjoyable - and watching Beyonce as Etta James, now THAT was worth the price of the ticket.

Of course, I could watch Beyonce perform just about anything, and it would be fun to watch.

Is this the greatest moment in the history of film making - no, hardly.

But is this a film worth watching, especially if you're a music fan of this genre', yes indeed, I would say so.

It's a great introduction to this arena of history, and how this music came to be, despite what technical flaws there might be.

I especially appreciated the end where the credits mentioned the entries into the R&R Hall of Fame, and the successful lawsuits that were won in favor of the musicians who invented this material. This is one aspect of this history I am aware of, and certainly deserves to be shown to the public for all to see

Like it .

[tahoe327 · 9/10 · 10 April 2020]

Great movie from acting to the music , I highly recommend. You won't be let down.

Do All Entertainers Read From the Same Playbook?

[view_and_review · 6/10 · 2 July 2021]

Whereas I appreciate movies like these that cover real life artists, a big part of me is tired of the same old tragic stories about entertainers.

"Cadillac Records" was primarily about Leonard Chess (Adrien Brody) and Muddy Waters (Jeffrey Wright), the two men who launched Chess Records. Muddy Waters, being Black, was not allowed to be more than the talent while Chess, being white, was allowed to launch a record company that featured many Black artists at a time when no one was willing to do that. He had artists such as Chuck Berry (Mos Def), Little Walter (Columbus Short), Etta James (Beyonce), and more.

Even though "Cadillac Records" was informative and even entertaining sometimes, like most biopics about singers and such, they're nothing if they don't involve alcoholism, drugs, women, and losing money.

Absolutely fantastic... must see!

[marijn-7 · 9/10 · 22 January 2009]

How can anyone write that this film is horrible?? (Maybe if your name is Poison?) I saw this movie twice in a row, and I was equally impressed both times. Can't wait till it's released on DVD, then I'll watch it many times again. The main characters (Muddy Waters, Leonard Chess, Little Walter, Chuck Berry, Howlin' Wolf, Etta James, Willie Dixon) are portrayed very realistic (yes Little Walter was pretty violent) and all the actors did a terrific job. Especially Columbus Short (Little Walter) who scared the heck out of me, and Beyoncé Knowles (Etta James) who caused tears in my eyes on more than one occasion. Man, can this lady sing! This film is a must see for all blues lovers, anyone who wants to know more about the history of music, and all that enjoy a great movie!!

Don't be looking at me like I ain't wearing no drawers.

[lastliberal · 7/10 · 11 April 2009]

I have no idea how accurate this story is, and I really don't care. It's about the music, about the stars, about some really fine acting.

Jeffrey Wright is a standout in an all-star cast as Muddy Waters. Combined with Columbus Short as Little Walter, it was dynamite. But that didn't last.

Adrien Brody was excellent as the man with an idea that would get him out of the junkyard: open a club and start a record label.

A guitar, a song, and soon you were driving Cadillacs and beating off the women.

Eamonn Walker as Howlin' Wolf brought in some more conflict, but that was quickly forgotten when Chuck Berry (Mos Def) hit the air and brought Blacks and Whites together, Oh, but it got really hot when Etta James (Beyoncé Knowles) arrived. Oh, can she sing! The bad part of crossing over on the charts is that it made it easy for white groups like the Beach Boys to take the music and make it their own.

Then came Elvis and Black Power, and the world was changing.

Listen to the music

[bigdonnieazd · 9/10 · 22 April 2021]

Hollywood has to change the truth to make a movie sometimes. I believe many people will hear fine blues songs and begin to appreciate the original American music that gave us Rock, Jazz and Soul. So just watch this film and enjoy it.

Not as good as it should have been...

[JoeytheBrit · 6/10 · 18 July 2010]

Cadillac Records is a fairly decent attempt to capture the flavour of a bygone era coupled with a fairly poor stab at exploring racial prejudice in 1950s US. But perhaps the film's biggest flaw is that it simply tries to cram too much history into an inadequate running time. Adrian Brody plays Leonard Chess and he's as good as you'd expect - but he's still overshadowed by Jeffrey Wright's portrayal of blues legend Muddy Waters. In fact, a more focused story was available to the makers in the relationship between Muddy Waters and the talented but self-destructive Little Walter. Beyonce Knowles also gives a stylish performance as Etta James, another damaged but immensely talented singer. The music is great and the film looks great, but the way in which the film whirls through the history of Chess Records means we never really get an in-depth understanding of its characters.

Absolutely inaccurate

[gerardherz-1 · 3/10 · 28 April 2009]

As a piece of entertainment this movie may be OK. But why take REAL names of REAL people (some of them fortunately are still living) to tell a story which, for the most part, is completely inaccurate. IMDb reviewer Davo Sambo has rightly pointed out the most blatant inaccuracies that this film carries. But as I have seen and met most of the artists involved in the plot (and for some of them - like Muddy who went dining at my home in Lyon (France) - I've had the fortune to know them personally) what worries me the most is that their personnality are also very inaccurate. For instance, Muddy who had an incredible charisma is portrayed here essentially as a very tepid character who thinks mostly to chase women. And Howlin' Wolf - a tough man certainly but a very bright and articulate one - is here portrayed as the terrorizing Wolf he PLAYED on stage and never out stage. The true story of the Chess saga (and the Chicago blues) is yet to be told properly