Earlier this month, director Dan Reed reflected on his four-hour documentary, Leaving Neverland, which covers allegations by Wade Robson and James Safechuck that Michael Jackson sexually assaulted them as children. Reed bluntly stated, “I learned Michael Jackson abused boys.”
This comment comes amid ongoing discussions about Jackson’s musical legacy versus the allegations against him. Reed’s stark conclusion contrasts with Michael, a new film that omits these darker aspects. This film concludes in 1988, well before the allegations came to light. Its original plan included scenes of a 1993 police raid on Jackson’s Neverland Ranch, showcasing a troubling moment for the singer. However, financial settlements have restricted such depictions.
While some argue there is no need for Michael to address these allegations, given its focus on a specific period, the choice of this timeframe has raised questions. The film ends with Jackson distancing himself from family and fellow performers, missing the complexity of his life.
Despite its focus on Jackson’s early career, Michael neglects significant details and oversimplifies events, often feeling misleading. Although it attempts to portray him as a unique genius, the film’s portrayal lacks nuance and omits personal insights. Critics highlight a failure to explore Jackson’s private life, suggesting the film prioritises the artist’s brand over the man.
This leaves a profound gap, as Michael neglects to examine the contradictions in Jackson’s life, limiting the audience’s understanding of his legacy.
