Anyone who knows me is very much aware that I am a giant fan of the great Michael Jackson.
With that being said, I have decided to detail what I consider to be his 10 greatest short films ever. There were many to choose from, since MJ transformed music videos into an art form to the point that his were actually short films. Here is the extraordinary list in chronological order:
1. Billie Jean, 1983
I was approaching my sixth birthday when this gem first landed on television. The unmistakable bassline of the now legendary song kicks in, and a black and white photo appears on screen conveying a brief sense of suspense. From there, a trench coat wearing PI seems to be tailing someone sometime after nightfall.
Within moments, Jackson appears walking down a street and with each step, the pavements that he steps on lights up. This is when MJ’s magic touch becomes apparent as everything that he touches illuminates. He’s wearing a pink button down shirt, red bow tie and black leather pants, and he’s holding a black leather jacket over his shoulder as he strolls pensively.
Soon, he notices a bum asleep in an alley, so he flips a quarter into a cup, the cup lights up and — voila! The vagrant is now wearing a clean white tuxedo as Michael moves on. With the mysterious PI lurking, MJ is having a blast as he makes his way through the city, singing and executing mesmerizing dance moves, before he shows up at a seedy motel.
With the PI still following him just out of his line of vision, Michael goes into the room of a woman, proceeds to get in her bed with all of his clothes on, then disappears as the bed glows, then goes dark. As the PI snaps photos through the window, he’s arrested and MJ has managed to make himself invisible as he strolls back the way he came through the city.
This visual project was absolutely fascinating when it dominated MTV in early ’83 because it told a mysterious story with Jackson cast as a magical and elusive figure. Add to that the random presence of a tiger, his kick ass dancing and the excellence of the song itself, and it’s no wonder that I the public loved this short film.
2. Beat It, 1983
Here was Michael Jackson, 24 years old, handsome and cute at the same time, wearing a cool white T-shirt stamped with a graphic of a piano keyboard and singing a badass song while lounging in his bed. At the same time, two rival gangs are preparing to meet up with each other and obviously stir up some trouble.
This is how the short film for “Beat It,” the third single from MJ’s new Thriller album begins. Before long, shots of the rival gangs emerging from sewers and walking in packs are juxtaposed with Jackson, now out of bed and fully dressed in an eye catching red leather jacket, black pants cropped at the ankles to show off crisp white socks and his signature black loafers.
While the gangs are preparing for conflict, Michael is singing and dancing through a pool hall, which ends up being the location of the gang confrontation. Just as the switchblades come out and the tempers flare, MJ magically steps between them and sings, “it doesn’t matter, who’s wrong or right,” before inspiring both gangs to join him in a synchronized dance routine that they somehow replicate flawlessly.
The idea that a rail thin softie like MJ would ever stand a chance at convincing rival gangs to settle their differences by dancing was beyond preposterous. Except in this context; Michael is clearly cast as a transformative figure with a magic touch, just as he was in “Billie Jean.”
In that respect, I’m able to suspend disbelief and allow that the magic of Michael Jackson, a man who was fast becoming the world’s most popular and emulated figure, was indeed capable of feats that eluded mere mortals. Through all of that, the most interesting aspect of this project is MJ’s jacket.
As I mentioned, it was red leather, and its extensive customization included mesh panels near the shoulders, and a total of 27 zippers all over the front and back. He wore it unzipped with the sleeves rolled up.
It was so different.
So much of a standout.
And it added even more awareness of his eccentric, yet very interesting fashion and self-presentation.
3. Michael Jackson’s Thriller, 1983
With so much competition in show business, it is nearly impossible to be unique or genuinely groundbreaking. For Michael Jackson, it was a piece of cake.
Or so it seemed.
Take his game changing short film, Michael Jackson’s Thriller for example.
In an era when music videos were often just a visual of someone holding a microphone and singing into it, this “music video” had a screenplay, a film director, Hollywood production values and crew and was briefly shown in an actual movie theater to have a chance at qualifying for an Academy award.
Thriller was basically a movie within a movie within a dream.
It starts off in a 1950’s setting with MJ and his date walking through the woods. After asking her to “go steady,” he explains to her that he is “not like other guys,” before he morphs into a werecat with intimidating claws and sharp teeth.
The girl runs away but eventually falls to the ground, now at the mercy of this terrifying monster. Before she meets her fate, the scene changes to show Michael in a modern day movie theater, as his date (who looks exactly like the pretty girl in the movie) looks away in fear of the flick that they are watching. She leaves in disgust, he follows her and he teases her a bit outside of the theater.
At this point, I am marveling at the super cool jacket that MJ is wearing. In the opening sequence of Thriller, he was wearing a letterman jacket. Now, he’s sporting another red leather jacket, but this one features black leather stripes and has an aerodynamic design at the shoulders which makes it look a bit futuristic.
He’s also wearing red pants cropped at the ankles and once again, his signature white socks and black loafers.
My six year old self was over the moon about MJ in this outfit, especially since his fashion profile had become firmly established in my mind by the time this film came out in December 1983.
Michael and his date walk away from the theater just as he begins to sing to her to reassure her of her fears from the movie. “I can thrill you more than any ghost would ever dare to try,” he croons to her as they lightly flirt with each other while strolling down the street.
The singing seems to have reanimated the occupants of a graveyard as the oblivious couple stroll past. Moments later, MJ and his date (Ola Ray, by the way) are surrounded by rotting zombies and are effectively trapped. While Ola is busy staring at the disaster around her, she doesn’t notice Michael has also become one of those zombies.
That led to another synchronized dance number, this time MJ and the undead. This was a notable moment, as this iconic performance has since become immortalized and still practiced by regular people all over the world.
After a frighteningly close call in a dilapidated house with the zombies and MJ closing in on her, she screams only to find out that she was in fact, only dreaming.
Michael is back to his normal self and offers to take her home. But, as he is about to walk her out the door, he shows us, the audience, that he is actually still some sort of monster as he flashes his “cat eyes” at us.
For the sake of context, the eight or nine months since his previous short film was long enough for the Thriller album to achieve almost unprecedented milestones.
It dominated music charts and its sales figures were so staggering that it was fast becoming the best selling album in history. There was also Jackson’s seminal performance during the “Motown 25” television special that massively raised his status as a live performer.
By the time this project premiered in December 1983, MJ was unstoppable.
That year proved to be the most successful, lucrative and charmed of his entire life to that point. The Thriller film was simply the cherry on top of an historic 12 months and it remains the ultimate masterpiece. It changed the way that music videos were made and the way that songs were marketed.
4. The Way You Make Me Feel, 1988
In my estimation, Michael Jackson was the ultimate innovator, not only with his music and visual content, but with his own personal appearance and style. He received so much flak for his constantly changing skin color and face in general, but I felt that his brand new or modified visage and fashion made him even more fascinating.
“The Way You Make Me Feel” is one of my favorite songs from his 1987 blockbuster album, Bad, and when the short film debuted in ’88, I could not contain my excitement. MJ’s revamped style during “The Bad Era” differed from his 1983–85 “Thriller era” in several ways. For starters, his skin was lighter, nose sleeker, hair longer and he had a cleft in his chin.
He swapped out the zippered jackets for buckles and studs in the short film for the title track. But in The Way You Make Me Feel visual, MJ pulled his hair back into a low ponytail, while still retaining his signature curls hanging over his forehead.
His attire was more basic than it had ever been as he sported a blue button up shirt, though he wore it unbuttoned to expose a crisp white T-shirt. He also wore his customary black pants cropped at the ankles and of course, his white socks and black loafers. MJ again was joined by a pretty female, this one played by Tatiana Thumbtzen.
During nightfall, Michael spots her strutting down a street but unfortunately, he ain’t the only one that is laying eyes on this beauty. Several other men gawk at her, but MJ is the only one that calls out to get her attention. She stops in her tracks, he gives her the once over, then decides that she is worth pursuing. “You knock me off of my feet now baby….HOO!!!!” He belts out to her with the type of confidence that comes with being Michael Jackson.
The beat kicks in, and he proceeds to essentially serenade her, even though she decides to walk away from him. Undaunted, Jackson struts right alongside her while continuing to sing, and occasionally thrust his hips suggestively to send this cutie his message loud and clear.
By the end of the nearly 9 minute film, Michael has managed to sway her affections and they embrace. I loved seeing him in roles such as this, a man who wants a hot woman and is persistent in his pursuit. These days, his methods could be construed as stalking, but make no mistake, Tatiana wanted to give that ass to MJ.
5. Dirty Diana, 1988
When the song of the same name hit the airwaves, it was met with a lot of critical disdain which shocks me to this day. Some called it filler, while others said that “Jackson [was] at his worst” on this song. I just give those reviews an annoyed eye roll and keep it moving.
The song was riveting and hot, and the short film was obviously spectacular. It features MJ in actual concert footage which was filmed during his then ongoing “Bad World Tour.” Because the song had an edgy hard rock vibe to it, Billy Idol guitarist Steve Stevens featured in the film alongside Michael as well as his own guitarist Jennifer Batten.
To me, MJ is so extraordinarily awesome in this clip. When he is first seen, it is from behind as a spotlight shines on him while he stands on stage in front of a crowd numbering into the tens of thousands of rabid, screaming fans. As the beat kicks in, Michael smirks while flexing his shoulders a couple times before he launches into verse 1.
“You’ll never make me stay, so take your weight off of me. I know your every move so won’t you just let me be,” he sings to a hypothetical groupie.
Michael’s majesty as an entertainer remains unmatched even 32 years later, and his natural gifts are on display even in a film such as this one. Again, his attire is fascinating as he is clad in one white short sleeved shirt, and another white long sleeve shirt over the top of that one. Both shirts are tucked into his pants, which are black with a thick red stripe going vertical down his leg and also includes buckles.
The pants and the buckles give the appearance that he’s wearing boots, but he’s actually wearing his standard loafers. The pants are not cropped as high as they normally are.
They appear to be the same type that he’s wearing on the cover of the Bad album. He is also sporting a collection of belts and various metal chains and trinkets around his slim waist. The shirts are tucked in to expose these details. Michael also wears a pair of fingerless black gloves that cover his forearm, and on his right hand, he wears white medical tape near the tip of three different fingers.
MJ struts, spins and goes up on his toes repeatedly during his performance of the song and at one point, he executes a 720 degree spin, then drops to his knees as a series of fog lights drop as he does.
He soon gets back onto his feet as he begins the final verse, which leads into the final chorus and a frenetic outro that ends with Michael raising his right hand high into the air, the lights going down and the entire arena illuminated by tiny flames from thousands of people raising their lighters in great appreciation for his scintillating performance.
At age 11 when this was released, I was so happy watching it and even now, it makes me feel exhilarated watching Michael’s incredible talent on display.
6. Smooth Criminal, 1988
This film and the song that it is based on are both among the very best of Michael’s career. It’s impossible to listen to the track and not visualize the brilliant short film, which is true of basically all of MJ’s work. In this one, he pays homage to one of his all time influences, Fred Astaire.
The 1953 film The Band Wagon stars Astaire, who wears a white suit, white tie and fedora, just as Jackson does here and he has it set in the 1930’s. The song informs the flow and energy of the film, frenetic and insistent with remarkable cinematography and set design.
MJ walks into what seems like a saloon filled with many people, some who look like troublemakers and most happen to be armed. At that point, another familiar Jackson trope appears; his seemingly magical touch.
He tosses a coin from one side of the room to the other with such amazing precision and aim, that it somehow manages to find its way into the tiny slot on a jukebox and BAM…the opening to the song “Smooth Criminal” begins, which elevates the energy in the entire room.
MJ moves with self assurance and intent as if he owns the place, alternating between dancing with several different groups of similarly suited people and kicking their ass. Everything is perfectly choreographed, even down to Jackson’s takedown of several would-be killers. He spins and glides and strolls so effortlessly that even his basic movements seem entertaining.
In addition to the white suit and fedora that make him look like a gangster, he also wears the ponytail from The Way You Make Me Feel and the attention drawing white tape on three fingers on his right hand. His mannerisms are badass in a subtle way; he punctuates spin moves and shifty hand gestures by repeatedly pulling his fedora down, obscuring half his face and sending a message that “Yes, I’m BAD and I’m in charge.”
At least, that’s how it comes off to me. At one point, Michael jumps on a table and manages to “summon” one of the windows in the roof to shatter as he belts his trademark “Aowwwww!” At this point, the lights dim, the music disappears in favor of a sharp whistle and finger snaps and everyone seems to have fallen into some sort of trance or spell.
A cat strolls across the piano keys, people are seemingly being transformed into disciples of MJ as they chant his refrain, “Annie are you ok?” Then, when Jackson asks it, the lights come back on and the music resumes. He’s back to spinning and strutting and gliding into eye popping dance moves that continue to illustrate his exceedingly prodigious gifts as an elite performer.
Included in the breathtaking dance moves is the famous “Lean move” that was talked about incessantly at the time of the film’s release. Michael and some of the others who were dancing with him executed a physically impossible forward lean (at a 45 degree angle) that shifted their weight in a way that gravity would never allow without falling flat on your face. Naturally, that was a “wow” highlight.
The film ends with a near army of armed psychos surrounding the place near the roof, at which point MJ realizes it, grabs a Tommy Gun and fires repeatedly through the glass near where they are before hastily making a beeline for the door to further deal with the situation outside.
This film is actually just the centerpiece of a larger and longer short film that Michael created for his Moonwalker project, but this 9 minute portion has served as the official Smooth Criminal music video ever since its 1988 release. Personally, I cannot bestow enough platitudes and praise upon this project because it is highly entertaining and extremely well done.
As a child who absolutely loved everything about Michael Jackson, this is exactly the type of thing that would be of great happiness to myself and others like me. The problem with critics who would ridicule and remark that these masculine type roles were unconvincing for Michael to play really missed the point, because his core audience I suspect was us kids, and it was very authentic to us.
But even at my current age, 32 years removed from the debut of this film, I still marvel at MJ’s enormous star power and energy in these creative endeavors. I could even make the case that this was his best executed artistic achievement ever.
7. Black or White, 1991
I was an elementary school student, just days away from beginning 5th grade when Michael Jackson released his 1987 blockbuster album, Bad. By the time he released its follow-up, I was a freshman in high school. As far as I’m concerned, he did not disappoint with Dangerous, the 1991 juggernaut that most people did not view as a classic, but in my opinion, it ranks as a brilliant album, and possibly his most creative.
The lead single is a guitar driven smash called, “Black or White” and sonically, serves as MJ’s obligatory “rock record.” The short film was magnificence personified and it introduced the world to yet another incarnation of Michael, as his physical appearance and style underwent another modification. While the media once again dedicated endless hours to discussions about his face, I was just excited about his new look.
With much lighter skin, MJ looks almost Caucasian and his features are a bit different. His nose is somehow even more narrow than before and pertly tipped. He alternates between wearing his hair down and in a low ponytail in this short film. Speaking of his hair, it appears to be straight as though it is permed, a departure from his famous Jheri curls from the ‘80’s.
In other scenes, it appears close to curly, but more wavy. Reflecting the premise of the song, the visual was essentially a screed against racism and advocated for racial harmony. It opens with a Macaulay Culkin cameo, then cuts to a desert type setting complete with lions and hunters approaching.
Jackson is in the midst of this, dancing and playing air guitar while wearing a simple white V-neck t-shirt with a long flowing white shirt over it and his classic black pants cropped at the ankles. He accessorizes with a long white fingerless glove that reaches to his right forearm and of course, white socks and black loafers.
His increasingly omnipresent white medical tape on three of the fingers of his right hand complete his look. He is shown dancing joyously with people of varying races all over the world, many times in famous locations and landmarks.
Near the end of the lyrical part of the film, MJ opts to use a then-innovative technology to show people of diverse races, cultures, genders and skin tones morphing into each other seamlessly. The effect received tons of praise and became one of the most iconic elements of his artistic works.
When this film made its unprecedented, multi network world premiere in November 1991, it was shown in its unfiltered state. That includes a final few minutes after the morphing effect that became the biggest talking point in the ensuing days. MJ morphed into a black panther, then ambles off set into an urban street late at night.
Once there, the panther morphs back into Michael and immediately begins to unleash a rage filled vandalism tirade. From simulations of masturbation to smashing car windows, Jackson was clearly trying to make a statement that failed to connect.
The vandalism was later explained to be justified because of the various racial epithets spray painted on the things MJ was destroying. After tons of backlash, those controversial final minutes were excised from future broadcasts of the film.
Personally, it was very unsettling seeing Michael in that way, because he has never come off as violent unless he was portraying a zombie or werecat. But in this context, I understood his intentions behind it. The issue was likely in the execution of it. Nonetheless, the film remains one of my absolute favorites!
8. Jam, 1992
In my wildest dreams, I never would’ve conceived of a project that would bring Michael Jackson and basketball icon Michael Jordan together. That’s exactly what this short film did back in ’92 and I was brimming with utter satisfaction as I watched it.
The song itself featured Jackson lamenting the many plights facing the world at the time and how he wanted all of us to help combat it. Because the song title “Jam” is also sports slang for dunking a basketball through the hoop, Jordan was the perfect choice since he had built much of his reputation in basketball on being a phenomenal dunker.
Also, when musicians are really in their groove, it is said that they are “jamming.” By now, Jackson was beginning to be referred to as The King of Pop, and as any king would do, he always made sure to work with the best people in their fields.
Jordan fit that bill perfectly at this point, having led his Chicago Bulls to their first NBA championship the previous year, and was literally about to lead them to their second title less than two months after this was filmed. The clip is extremely fascinating to me with the world’s foremost MJs sharing the spotlight, or in this case, an abandoned indoor gym in Chicago.
The opening moments of the film features various shots of inner city Chicago before settling on a building when a ball is thrown through a window. The sound of the shattering glass mimics the initial sounds of the song, then the trademark New Jack swing style music kicks in.
Teddy Riley, the master at producing that style of music gave the entire Dangerous album a different sound from what a typical MJ project would sound like. That was a calculated move on Jackson’s part as he eschewed working with Quincy Jones, the man with whom Michael had created three legendary albums in eight years.
As the Jam film progresses past its opening moments, Jackson is dancing inside the huge abandoned property, while wearing a bright red long sleeved shirt with a white armband on the right sleeve. Underneath the unbuttoned shirt is a white V-neck, which had clearly become Michael’s preferred style, just as his black pants cropped at the ankles and black loafers, all of which he wore in this.
Soon enough, Jordan enters the room with a basketball in his hand. Fittingly, he first appears in silhouette (his famous Air Jordan logo is a silhouette of him dunking) and in slow motion. Various shots of children and several famous faces are interspersed throughout; Kriss Kross, Naughty by Nature and Heavy D were all among the most popular acts in hip hop at this point in time and that is precisely why they all have cameos here.
Heavy D actually has a brief rap verse at the song’s bridge. Predictably for me, the most awesome moments of this film are the shots of Jordan and Jackson alternating between playing basketball and dancing. The world’s greatest entertainer is peerless as a singer and dancer, and the world’s greatest basketball player is peerless as a scorer and dunker in these scenes.
Jordan’s attire seems purposely selected to match Jackson’s. The NBA MVP at the time is wearing a red tank top and black shorts, both branded with his instantly identifiable logo, and of course, he’s wearing the then current black and grey Air Jordan VII shoe.
Special effects are used to make Jackson appear to make several virtually impossible shots, while no special effects were used to make Jordan appear to be a competent dancer. There is a lot of playfulness between the two men on the court, which was great to see.
As an epilogue to the main action, Jackson tries to teach Jordan how to execute some of his signature dance moves. He even grabs Jordan’s feet and tries to maneuver them to move correctly for the specific dance. To my 15 year old self, my smile was permanent. Even now, this historic moment in pop culture takes me to my happy place!
9. Remember the Time, 1992
If anyone ever needed proof of how enormous Michael Jackson’s influence was by the time 1992 rolled around, all they needed to do was take a close look at the absolutely legendary list of famous or iconic people that showed up in the short films from his Dangerous album.
He already had George Wendt from the highly successful television series Cheers and child sensation Macaulay Culkin in his Black or White film. He then had the world’s greatest basketball player, Michael Jordan and three of the hottest hip hop acts in the world at the time (Kriss Kross, Naughty by Nature and Heavy D) in his Jam film.
Now, the addictive pop and soul ballad “Remember the Time” shows up with another collection of megastars; basketball great Magic Johnson, legendary comedian and actor Eddie Murphy and gorgeous fashion model Iman. On top of all that, MJ tapped John Singleton, one of the hottest young directors in the business at the time to helm the short film.
Set in ancient Egypt, the film begins with the pharaoh (Murphy) and his queen (Iman) sitting side by side on their thrones. The queen tells him that she wants to be entertained, and after a couple acts show up and perform, the queen is unimpressed and orders them to be assassinated.
Just then, a mysterious hooded figure shows up, disappears into the floor only to reappear as Jackson, resplendent in a sophisticated costume featuring a gold satin shirt, black pants and boots, a thin white skirt and sash over the pants and most interesting to me, gold chain mail over top of his shirt that reminds me of a Masters of the Universe golden suit of armor.
Either way, it’s typical cutting edge MJ, who also wears his hair in a shoulder length perm that to me, makes him look a lot like his mom. The queen is clearly entranced by Michael, especially after he kisses her hand much to the dismay of the humorously angry pharaoh, who immediately orders this far too charming figure to be dealt with.
MJ sings to her, she looks smitten, but to avoid the guards of the pharaoh, he eludes the pending danger. As the guards try in vain to capture him, Michael is as elusive as a person can get. He and many of the servants get together and perform an elaborate, synchronized Egyptian dance number that is possibly the most complicated of Jackson’s career.
The moves all appear to be original, with little in the way of his signature moves. The entire atmosphere, down to the detailed costumes and mannerisms feels like a celebration of blackness, which was remarkable because Michael was being heavily criticized during this time for his ever lightening skin tone.
He was lambasted repeatedly for “trying to be white” and being “ashamed of his blackness.” Naturally, these were wholly ignorant and false statements about him. Probably the most shocking moment in the film is when MJ and Iman share a passionate kiss, shades of 1988’s The Way You Make Me Feel flick.
This film received a multi network world premiere, a practice that had become unique to Jackson because of his lofty vision for his work. By the end of this film, he eludes any harm by spinning until he morphs into a pile of magic dust and blows away.
10. Scream, 1995
If you listen to this song or watch this short film without having any idea of what had taken place the previous couple years in the life of Michael Jackson, you’d probably wonder, “why in the hell does Michael sound so pissed off in this?” That is precisely why context is so important, but obviously I knew all of the key stuff.
Bottom line, during the second half of 1993, MJ’s life changed forever. While winding down his two year long “Dangerous World Tour,” he was accused of sexually molesting a 13-year old boy, which predictably created an intense media circus and tons of public backlash against him.
He was even forced to submit to a full body examination by authorities, something that Michael was adamantly against and was completely humiliated. His team advised him to settle the messy situation, rather than stand trial, so Jackson did exactly that.
Some media reports placed the sum of his payout to be in the $20 million range, which furthered the public’s disdain for him because many felt that a price tag that high was tantamount to an admission of guilt. At all times, MJ emphatically denied all allegations.
So, by the time his follow-up to 1991’s Dangerous showed up, his reputation and image was in a decidedly different place. The district attorney Tom Sneddon was one of Jackson’s biggest enemies as he tried hard to get him locked away forever.
With all that being said, Michael’s ninth solo studio album, HIStory: Past, Present and Future, Book I debuted in June 1995 and yielded two songs that I immediately fell in love with; “You Are Not Alone” and “Scream.” The latter is a duet with MJ’s kid sister Janet, obviously a legendary artist in her own right. I was blown away by this short film, which is presented in black and white.
The hostile, fed up tone of the song, as well as Michael’s state of mind is evident as soon as he sings his opening lyrics:
“I’m tired of injustice. I’m tired of the schemes. The lies are disgusting, so what does it mean? Damn it. You’re kicking me down. I’ve got to get up. As jacked as it sounds, the whole system sucks, damn it!”
With that, the groundwork is laid for what feels like a catharsis for Michael with sibling support.
The fascinating twist is that they are on a spacecraft hovering above earth, all by themselves. The décor of the spacecraft looks highly futuristic, art and furniture morph into different things with the press of a remote control, MJ and Janet play video games and to relieve their immense anger, they break things, dance remarkably and break more things.
Janet has a subtle sexual energy in this flick, and their overall energy is controlled rage, underlined by Michael’s shocking use of the word “fucking” in the song, something that he hadn’t ever done before or after. There’s guitars broken, ping pong played, Janet pretending that she’s urinating like a male by standing over a toilet with her hands at her fly, and oh by the way, they change costumes multiple times and usually end up wearing the same thing.
My favorite look is the black pants that look like vinyl or patent leather and black shirt with raised designs on them. Michael wears his hair down, and it appears wavy. With this being yet another new era for him, he looks a bit different again.
Much paler than I’d ever seen him to that point, and not at all a happy camper. Either way, this insanely big budget film is brilliant in its execution and edgy style.
There was never any limit to Michael Jackson’s creative genius, and I will always be inspired by his mastery of the artform.