MUSIC

Stars: Maddie Ziegler, Kate Hudson, Leslie Odom Jr., Ben Schwartz, Mary Kay Place and Hector Elizondo.
Writers: Sia and Dallas Clayton.
Director: Sia.

Rating: ★ ★ ★ ★

In Australian singer/choreographer Sia’s directorial debut Music, a neurotypical actor has been cast as a character with non-verbal autism. The practice is, of course, hugely problematic; casting able-bodied actors to portray disabled characters is as old as cinema itself. As past insensitivities in the name of storytelling have been mothballed, we hope the casting of the neurodiverse in roles depicting their experiences is inevitable. (For an impassioned plea to end the faking of on-screen disabilities, read fellow critic Grant Watson’s take over at Fiction Machine, or Variety’s coverage of autism advocacy group’s collective outcry).

So, the question arises as to whether a film that employs such a practice can, even should, be reviewed fairly in light of its casting. 

Whether her presence sits uncomfortably with the majority of 2021 film watchers, lead actress and Sia’s long-time muse Maddie Ziegler is terrific as ‘Music’, giving a compelling performance of technical skill and deep resonance. Some critics will bemoan it, citing it is all ‘ticks and clicks’ merely reinforcing a century of well-intentioned but cliched portrayals of those with additional needs. But there is no doubt that Ziegler’s nuanced acting and her director’s interpretation of Music’s worldview prove deeply moving.

Part of that ‘worldview’ is presented as intricately choreographed song-and-dance interludes; vibrant, giddy flights of whimsy by which Music comprehends her reality. It is an inspired creative choice for the director to make, and while it seems unlikely that there will be a wave of ‘mental health musicals’ in the wake of this film, the role these sequences play in helping the audience understand Music’s emotional state is crucial. 

Music’s structured daily routine is thrown into turmoil when her grandmother and carer (Mary Kay Place) passes suddenly. Despite a neighbourhood support group that includes caring super George (the wonderful Hector Elizondo), sweethearted softie Felix (Beto Calvillo) and handsome loner Ebo (Leslie Odom Jr.), it falls to opportunistic half-sister and recovering addict Zu (Kate Hudson) to reconnect with and care for her. Not everything rings true about Hudson’s portrayal - with her ripped movie-star physique and pearly whites, she’s the healthiest-looking black-out drunk in movie history - but the relationship she develops with both Music and, by extension, Ebo, does convince.

Sia has been open about her ‘creativity and community’ philosophy and that is exactly the themes that she expands upon in an impressive filmmaking debut. Her take on big-city life is every bit as rose-colour filtered as her conjured dance numbers; this is an only-in-the-movies LA neighbourhood, where street vendors shout out your name with a smile and drug dealers look and act like the adorably camp Ben Schwartz. When the movie does dip into the harsh realities of, say, an alcoholic’s fall from the wagon, the loneliness of life has an HIV sufferer or the horror of domestic abuse, the impact is appropriately jarring.    

With co-scripter and children’s author Dallas Clayton, Sia's articulation of life on the autistic spectrum has credibility and is a vision shared with and buoyed by her lead actress’ dedication. Yes, we want ASD actors cast in parts drawn from their authentic life experiences. Still, we cannot deny that Music considers those experiences with heart, integrity and artistry.