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Buy this DVD with Walk the Line (Widescreen Edition) DVD ~ Joaquin Phoenix today!

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Amazon.com
Jamie Foxx's uncannily accurate performance isn't the only good thing about Ray. Riding high on a wave of Oscar buzz, Foxx proved himself worthy of all the hype by portraying blind R&B legend Ray Charles in a warts-and-all performance that Charles approved shortly before his death in June 2004. Despite a few dramatic embellishments of actual incidents (such as the suggestion that the accidental drowning of Charles's younger brother caused all the inner demons that Charles would battle into adulthood), the film does a remarkable job of summarizing Charles's strengths as a musical innovator and his weaknesses as a philandering heroin addict who recorded some of his best songs while flying high as a kite. Foxx seems to be channeling Charles himself, and as he did with the life of Ritchie Valens in La Bamba, director Taylor Hackford gets most of the period details absolutely right as he chronicles Ray's rise from "chitlin circuit" performer in the early '50s to his much-deserved elevation to legendary status as one of the all-time great musicians. Foxx expertly lip-syncs to Ray Charles' classic recordings, but you could swear he's the real deal in a film that honors Ray Charles without sanitizing his once-messy life. --Jeff Shannon

More on Ray Charles

Modern Sounds in Country and Western Music (CD)	The Genius of Ray Charles (CD)	Ray Charles and Betty Carter--Dedicated to You (CD)
Genius & Soul--The 50th Anniversary Collection (CD)	Ray: A Tribute to the Movie, the Music, and the Man (book)	More Albums by Ray Charles

From The New Yorker
Swaying from side to side, his back arched almost to the point of snapping, Jamie Foxx, as Ray Charles, seems pulled upward to the heavens and downward to the keys at the same time. This intelligent and tough-minded bio-pic, written by James L. White and Taylor Hackford and directed by Hackford, tells us a lot about Charles, but it doesn't tell us everything. Though properly awed by Charles's talent, "Ray" refuses to get chummy or possessive. The movie picks up Charles's story in the late forties, when he's an ambitious but wary teen-age musician, and carries him through his musical innovations and his personal pleasures and torments until 1964, when he's a world-famous artist and a miserable heroin addict. There's something both joyous and demonic about this guy, an insatiable energy in his insistence on driving soul and country sounds into the beats of R. & B. For many older people in the audience, the sound of Ray Charles's music is inseparable from memories of dating, dancing, lovemaking, and loss. The movie has the bold good grace to honor the enraptured kids they once were and the sterner but still hungry grownups they became. -David Denby
Copyright © 2006 The New Yorker

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