“Leaving Neverland” Director Says “Michael” Biopic Is ‘Impossible to Take Seriously’ as a Depiction of Michael Jackson’s Life

In a recent interview, Dan Reed, the director of the 2019 documentary “Leaving Neverland,” voiced strong criticisms of the new biopic “Michael,” which centres on the life of the late pop star Michael Jackson as portrayed by his nephew, Jaafar Jackson. Reed’s remarks come amidst ongoing discussions about the allegations of sexual abuse against Jackson that have re-emerged in public discourse.

Reed’s documentary, which aired on HBO, presented the accounts of Wade Robson and James Safechuck, who allege that Jackson sexually abused them during their childhood in the 1990s. In stark contrast, “Michael,” which premiered in cinemas last weekend, has been reported to have omitted significant scenes related to these allegations, including a previously aired claim from 1993 involving Jordan Chandler.

In an interview with Variety, Reed expressed his disappointment, stating that the film gives a distorted view of Jackson’s life and legacy. He remarked, “The film just flips the truth on its head — black is white, white is black, and two and two make five.” Reed suggested that viewers are unlikely to critically evaluate the film’s narrative, which he believes lacks credibility as a rebuttal to “Leaving Neverland.”

Reed further elaborated that the film initially aimed to challenge the content of his documentary but ultimately resorted to a more superficial storytelling format. He accused the filmmakers of failing to establish a believable account to justify Jackson’s relationships with children. The documentary director pointed out that Jackson had been known to have young boys spend the night at his residence, a fact he describes as “undisputed,” and suggested that such behaviour would typically warrant serious legal scrutiny.

When questioned about the Jackson estate’s production of works that overlook the allegations of abuse, Reed expressed frustration. He pointed to the well-documented circumstances of Jackson’s relationships with young boys and questioned the rationale of dismissing these claims as simply the result of his troubled childhood. “It makes no sense,” he argued.

Amidst his critique, Reed touched on the broader cultural phenomenon surrounding Michael Jackson, labelling him an “American myth.” He commented on the film’s box office success, indicating that this popularity might shield the character’s complex and troubling legacy from scrutiny. Reed also took issue with Antoine Fuqua, the film’s director, for his comments that seemed to undermine the credibility of abuse allegations, stating that insinuating financial motivation for such accusations is deeply damaging.

Reed’s passionate remarks were also made in light of ongoing legal battles and public perceptions surrounding the estate of Michael Jackson. The estate has vehemently denied all allegations of abuse and has produced its own content aimed at defending Jackson’s legacy, including a rebuttal documentary titled “Neverland Firsthand: Investigating the Michael Jackson Documentary.”

Moreover, Reed has announced plans for a follow-up documentary titled “Leaving Neverland 2: Surviving Michael Jackson,” set for release in the UK in 2025. He noted that the original documentary has been temporarily removed from HBO’s streaming service due to a non-disparagement clause linked to a 1992 agreement with Jackson, cutting off access until 2029.

As the dialogue surrounding Michael Jackson’s life and allegations of abuse continues, the release of “Michael” has reignited debates over the portrayal of complex figures in popular culture. Reed’s comments are indicative of the ongoing struggle to confront the darker aspects of Jackson’s legacy and the implications they hold for future representations in film and media.

The conversation around Michael Jackson is far from over, and with both documentaries and biopics contributing to an evolving narrative, audiences are left to navigate a complex landscape fraught with ethical, moral, and legal ramifications. “Michael” is currently showing in cinemas, while Reed’s latest work remains on the horizon, promising to further explore the ongoing impact of Jackson’s story.