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Young Ray (C.J. Sanders) learning to play the piano

All to say that Jamie Foxx does an extraordinary job of losing himself in the role of Ray Charles for most of the film's two-and-a-half hours. He's completely believable, dynamic, and challenging. The acting is strong all around in Ray, not just with Foxx. Kerry Washington is especially memorable as Charles' beloved wife Della Bea, and Sharon Warren is very impressive in her cinematic debut as Ray's mother Aretha.

This is not only the tale of a musician's rise to stardom. It's also the story of a man taught to improvise and feel not just music, but everything in his life. Tough love from his mother prepared him for the harsh realities of his condition—Charles was doubly discriminated as a black and a blind man. It helps explain why he never used a cane or a dog, why he was originally paid in single dollar bills, where the inspiration for many of his songs came from, and why he wrestled with inner demons through the prime of his life. The flashbacks seem gimmicky at first, but they're essential to the heart of the film. The ending will seem far less abrupt if viewers understand that Ray is not about Charles' whole life story, but his path to success, both personal and professional.

Ray also gives a cursory look at the music business, tracing the development of a new talent. The relationships smack of reality, as Charles rises from the crooked performance deal at the jazz club, to the shady touring gig with the small label, to the major league recording deal, and then the superstar contract after that. It's interesting to watch how the people enter Charles' life, help him get to the next level, and then move on as he grows beyond them. Some of it is selfish and conniving, and some of it's just the nature of the business. It's not told to make Charles more or less sympathetic, or to portray music industry insiders as a bunch of shysters, but rather to tell it like it is.

Foxx is convincing in the role of the music legend

In a biopic like this—especially one with direct input from Charles—there's also the fear that the filmmakers will whitewash the subject's past. Not so with Ray, which Charles insisted be true to his life, warts and all. The film clearly demonstrates the perils of downtime and idle cash on the road. Loneliness and alienation from whites and blacks alike led Charles to a 20-year addiction to heroin. He was also a shameless flirt, famous for his womanizing; his touring backup singers, The Raeletts, often joked that they had to "let Ray." If there's anything glossed over here, it's that Ray suggests he fathered one illegitimate child—Charles is survived by twelve children, and they're not all from his wife Bea.

It all suggests that amidst the crooked and prejudiced people over the rise of his career, Charles was ultimately his own worst enemy. He acknowledges his sins in this film as part of the journey on the road to healing. By finding strength in his weakness, and with the loving support of his wife, he overcame his obstacles. Though Ray is not a "Christian" film, there's plenty familiar about the descent into sinful habits and the way out of it—forgiveness and accepting responsibility for actions.

Ray in part goes through the same motions as other musical biopic: Musician rises above impoverished start, lands recording contract, and comes close to wrecking marriage/relationship over drugs and adultery—we've seen and heard it all before. It doesn't seem quite like Best Picture material, but the directing is sure-handed, the script intelligent, and the acting strong, especially the amazing performance from Foxx. It's better than most films of its kind, made apparent from how quickly it moves despite the lengthy running time. Ray tells the compelling story of an American music legend, putting his historical impact in proper perspective both professionally and personally.

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