Respect

For a film deeply rooted in emotional music, Respect is largely devoid of feeling.

The authorized and wholly average depiction of the exceptional life of Aretha Franklin (Jennifer Hudson) — or at least her doings through 1972, followed by onscreen text that informs viewers of her accomplishments over the next 46 years — takes zero risks in the filmmaking department under the leadership of TV director Liesl Tommy (Mrs. Fletcher; The Walking Dead).

By-the-book though it may be, complete with requisite sub-genre inclusions of addiction and abuse by parents and spouses, Respect isn’t quite as easy a lampooning target as it initially appeared. But in an odd twist, Franklin’s second husband Ken Cunningham is played by Albert Jones, who weirdly resembles Walk Hard supporting player Tim Meadows, forging an unintentional yet appropriate connection with Jake Kasdan’s 2007 music-biopic-skewering comedy.

Along with the initial awkwardness of Hudson getting accustomed to Franklin’s distinct Detroit accent, the film further stumbles with its strange handling of trauma. Screenwriter Tracey Scott Wilson (The Americans; Fosse/Verdon) introduces Franklin’s teenage pregnancies a good ways into the singer’s adult life, seemingly suggesting they’re the result of statutory rape. However, the star’s thoughts on the matter aren’t explored beyond a forlorn look while an ambiguous flashback plays, nor is her family’s take included besides one sister asking if Franklin will ever reveal the children’s father — a bizarre bit of censorship, seeing as her temperamental minister father C.L. (Forest Whitaker) likely would have exploded at the news.

The disinterest in digging deeper results in a textbook shallow look at a complex issue, and leaves Franklin’s music the sole avenue for emotional connection. Fortunately, the songs are legendary, Hudson’s lead performance is sufficiently confident, and tangential pieces involving the tunes’ creations are compelling and keep the narrative from bogging down.

Abrupt though it is, Tommy’s and Scott’s decision to end the biopic at the Amazing Grace recording sessions is mostly sensible and serves as a solid springboard for the vastly superior, long-delayed 2019 documentary about those sessions, also called Amazing Grace.

But the filmmakers’ next move is truly baffling. Despite a wealth of excellent late-career video clips from which to choose, they accompany the end credits with video of Franklin performing “(You Make Me Feel Like) A Natural Woman” at the Kennedy Center Honors concert for songwriter Carole King, raising all sorts of questions regarding just how respectful Respect truly is.

Grade: C-plus. Rated PG-13. Now playing at AMC River Hills 10, Carolina Cinemark, Grail Moviehouse, and Regal Biltmore Grande.

(Photo: Quantrell D. Colbert/Metro-Goldwyn-Mayer Pictures Inc.)