The High Note: A Glitzy, Yet Disposable Lighthearted Comedy About Following Your Dreams
Working from a script from Flora Greenson (which was featured in the 2018 Black List as one of the best unproduced scripts of that year) and set in the sunny and glamorous world of the LA music industry, Late Night director Nisha Ganatra’s latest film, The High Note, is a glitzy, yet disposable lighthearted comedy about following your dreams. It may not reach the heights that its title suggests, but thanks to its luscious cinematography and spirited performances, The High Note proves to be entertaining enough.
Grace Davis (Tracee Ellis Ross) is a global superstar whose talent — and ego — have reached unbelievable heights. Maggie (Dakota Johnson) is Grace's overworked personal assistant who's stuck running errands, but still aspires to her childhood dream of becoming a music producer. When Grace's manager (Ice Cube) presents her with a choice that could alter the course of her career, Maggie and Grace come up with a plan that could change their lives forever.
Finding a happy musical medium between the commercial allure of Bradley Cooper’s A Star Is Born and the indie/hipster charm of Brett Haley’s Hearts Beat Loud,The High Note plays like a West Coast rendition of The Devil Wears Prada (which Late Night also borrowed heavily from). It transposes the assistant/boss relationship from the busy streets of NYC to the lax vibes of LA and updates its character’s profession from magazine editor-in-chief to pop superstar, while maintaining a firm focus on the relationships between women. Needless to say, it feels totally familiar, but The High Note’s vibrant characters and sun-soaked sheen make it a decently charming and stylish watch for a bubblegum dramedy.
The film centers around Maggie, an affable aspiring music producer who has somehow managed to become the assistant to Grace Davis, one of the biggest names in pop music. With the hope to one day be more than just Grace’s grunt, Maggie secretly reworks one of Grace’s live recordings, thinking maybe — just maybe — it’ll be good enough to land her in the producer’s seat. But when things don’t go according to plan, she sets out to find a recording artist to call her own, serendipitously brushing paths with David Cliff (Kelvin Harrison Jr.), a talented musician coasting on small gigs who agrees to partner up with her. Meanwhile, Grace’s record label and manager are applying heavy pressure for her to take a steady residency in Las Vegas, despite the fact that Grace thinks she’s got another album in her. As Grace debates the next move of her career, Maggie goes through ups and downs of her own, bringing both women together in a way that changes their lives forever.
Similar to Ganatra’s previous film, Late Night, The High Note lacks conflict and makes its character’s arc into a seemingly easy, coincidental journey. We see Maggie working pretty hard, juggling her assistant work with late night studio sessions, but we really don’t see her struggle too much. Things tend to come pretty easy for her and a lot of things just kind of fall into her lap. Even Maggie’s relationship with Grace is breezy and without turmoil for most of the film, and she comes off more like a friend than an assistant. The film’s optimism is a bit out of touch with reality, but it serves as pleasantly uplifting escapism, and the film’s sprinkle of humor helps to glide things along.
The whole affair is a bit long-winded, particularly its third act, and its comedy isn’t consistent or clever enough to make a lasting impression. It also suffers all the more for the addition of an unnecessary twist, which gives the narrative too much of a “it’s a small world after all” kinda vibe, but first-time screenwriter Flora Greenson succeeds in creating likeable characters full of heart, which are further elevated by the performances. In particular, Dakato Johnson lights up the screen with her warm, bubbly charisma. Her chemistry with the entire cast is radiant, but it especially glows when she’s with Tracee Ellis Ross, creating a central relationship that feels lived in. Ice Cube, June Diane Raphael, Diplo, and Kelvin Harrison Jr. also giving strong supporting performances. Visually, Jason McCormick’s glossy and sunstreaked cinematography is a highlight, and he fills the film up with loads of striking eye candy, fully engaging the eye while the mind’s on autopilot.
Perhaps familiar to a fault, The High Note is pleasantly agreeable, well made, and fine in every sense. It takes you for a nice ride, ripe with solid performances, clear direction, and visual appeal, delivering the kind of feel-good comedy that will help take your mind off things, which is especially necessary during these times.
You can check out the film when it premieres at home on demand May 29th.
Recommendation: The High Note’s lighthearted, effervescent demeanor and dazzling cinematography make this disposable comedy engaging and satisfying enough.
Rating: 3 drunken drive-thrus outta 5.
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