Within the first few minutes of “Wham!,” a documentary focusing on the meteoric career of the eponymous ’80s pop icons, late frontman George Michael describes the day he came to meet group co-founder Andrew Ridgeley as secondary school students and the instant bond that formed in such a way that Michael would go on to question the path his life might have subsequently taken had the two never crossed paths themselves. In a somewhat similar fashion, would the subject of how Wham! rose from the bond between two best friends into a musical powerhouse mix appropriately with the direction of Chris Smith? Best known for helming a diverse body of docs focusing on such concepts ranging from low-budget independent filmmaking (“American Movie“), failed music festivals (“Fyre“), Jim Carrey‘s method acting on the set of “Man on the Moon” (“Jim & Andy“), and more recently, directing “Sr.,” the Robert Downey Jr.-led doc about his famous filmmaking father Robert Downey Sr, the answer is a resounding yes.
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It’s safe to say that, given the arc Smith’s filmography has demonstrated over the better part of the past thirty years, “Wham!” fits in perfectly, and one view is all it takes to showcase there’s quite likely no better person to take the reins. Utilizing a wealth of previously recorded interview audio alongside copious amounts of archive photos and live video, “Wham!” flows as easily as so much of the hit music the duo produced throughout their all too short time together, with a predictable focus on the partnership of Michael and Ridgeley. In this sense, the core structure of “Wham!” is similar to so many other documentaries, both music-related and otherwise. Still, the infectious exuberance between the two men at the film’s center keeps the overall feeling a joy to watch as much as the undeniable catchiness of every song heard from start to finish.
There’s a noticeable lack of tension throughout “Wham!” which only adds to the uplifting tone; However, the film does cover those early days when record labels initially turned their heads upon hearing the duo’s early demos and their first taste of failure on the charts after the group finally landed a deal, as well as that pivotal moment when Michael came out of the closet to Ridgeley, the movie is quick to shift over to live footage where it’s beyond easy to see the energy, Wham! It’s brought to the stage or media interviews where it’s hard not to smile at the rapport on display as either Michael or Ridgeley pokes fun at one another or casually jokes with the person asking the questions. That said, the inner conflict Michael underwent as a result of attempting to reconcile his public pinup persona with his orientation does manifest from time to time. It would eventually play a role in his decision to venture off as a solo artist not that many years following the group’s debut.
It’s here that the film serves as a terrific platform for a masterclass in Michael’s talents; seeing him successfully work as a producer, while certainly fascinating in his own right, can’t help but play second fiddle any time his vocal abilities are on display. Clips from the “Careless Whisper” music video are a perfect blend of outstanding singing with an iconic onscreen presence befitting of any era, as much as the jaw-dropping moment when Michael took the stage at Live Aid, singing Elton John‘s classic “Don’t Let the Sun Go Down on Me” with more enthusiasm than one could even begin to comprehend. Smith also knows how to take yet another left turn into showing Michael’s emotions, such as when he was awarded his first of several Ivor Novello Awards in 1985; it’s hard not to become a bit choked up watching the man openly weep as he gratefully accepts his prize.
However, the film continues to remind viewers of Ridgeley’s importance to the group, whether in designing the group’s fashion, marketing, or onstage aesthetics or even when the “Last Christmas” video is shown and the near-constant laughter that emanates from the men can’t help but show how the chemistry of this ilk could never be manufactured; even as the two evaluate their importance to each other at various points, like iron sharpens iron, Wham! could never even begin to exist without the unique pairing of Ridgeley and Michael. It would likely be something of a crime to neglect to mention their beloved “Wake Me Up Before You Go-Go,” which does get its time to shine and even brings with it a new energy as we see a montage of live performances interspersed with video clips. Seeing the origin of this song, along with roughly every one of their hit singles and the occasional difficulties in their creation, also helps to keep the pace on point; the changes “Careless Whisper” had to endure from its Porta-Studio beginnings to that recording session where we hear Michael wax nostalgic about the revolving door of saxophone players the group tried before landing on the one to deliver arguably one of the most recognizable sax lines in music history is another unexpectedly interesting piece of trivia in a sea of many that “Wham!” has the ability to drop from time to time effortlessly. It’s here, however, that it’s hard not to wish the film spent more time on the group’s backing vocalists, all of whom helped Wham! in their live setting go from a pair to a tight-knit team of four or the skilled musicians that gave the band their signature sound; one can only hope for a follow-up, given as well handled Wham! has been in the capable hands of Smith.
One of Smith’s earliest efforts, the aforementioned “American Movie,” was at its heart a look at a friendship between a struggling filmmaker and his offbeat best friend; it’s interesting to see the director seemingly circle back to a near-identical subject in “Wham!,” which itself is unquestionably about the love and support George Michael and Andrew Ridgeley showed one another as Wham! went from a youthful pastime to a dream come true, one that would lead to the legend that is Michael after the end of Wham! and the beginning of his solo triumph. As painful a loss as his passing may have been, seeing a twentysomething Michael alongside Ridgeley in the prime of their lives as they experienced a rise to fame on the backs of their own hard work can’t help but remind viewers of their own days growing up listening to their respective favorite artists or spending quality time with a childhood friend. Whether a viewer might be a fan of Wham! or not is ultimately irrelevant, as Chris Smith has produced something as incendiary as any of Wham!’s hits, songs that Michael was once quoted as uttering, “I’ve achieved what every artist wants, which is that some of their work will outlive them. ” In the case of “Wham!,” a film showing just that, it’s hard to ignore that friendship living on as well, long past the time the credits begin and the music continues to play on. [A]