"The High Note" a slick, effortlessly feel-good formula that works

The High Note (2020)
113 min., rated PG-13.
Release Date: May 29, 2020 (PVOD)

Director Nisha Ganatra’s “The High Note” isn’t incredibly complex or particularly profound, but it is ultimately a feel-good picture that hits all the right beats harmoniously. Generally a variation on 2006’s “The Devil Wears Prada”—and Ganatra’s debut film, 2019’s “Late Night,” about another professional relationship in the late-night TV world—the film works effortlessly as a slick, crowd-pleasing formula can. Ganatra and her cast build so much good will that writer Flora Greeson’s fizzy writing and winsome performances more than carry the day. “The High Note” already stands as one of the year’s high pleasures. 

Dakota Johnson (2019’s “Wounds”) is her fetching, comedically sharp self as Maggie, a personal assistant of three years to eleven-Grammy-winning soul music legend Grace Davis (Tracee Ellis Ross) in Los Angeles. She manages her boss’s schedule and runs errands, but Maggie hopes to one day become a music producer, as she secretly mixes some of Grace’s tracks at home. As Grace wishes to record new material—even though her success lies more with her older hits—manager Jack (Ice Cube) pushes her to take a no-tour contract and permanent residence in Las Vegas. Meanwhile, Maggie (who has a great ear and encyclopedic taste in music) meets aspiring musician David (Kelvin Harrison Jr.) and pretends to be a producer, which gets a little messy when Grace will inevitably find out. 

It is inspired casting to have Diana Ross’ daughter being assisted by the daughter of Don Johnson and Melanie Griffith (and the granddaughter of Tippi Hedren). Tracee Ellis Ross (TV’s “Black-ish”) is dynamite as musical diva Grace Davis. Credible as a larger-than-life stage presence, Ross even makes original song “Stop for a Minute” damn catchy. Johnson, charming as always, is every bit Ross’ match as go-getter Maggie, and the script smartly never forces the young white woman to become the savior to the over-40 woman of color. Luckily, this is a film about women supporting each other, even if the newcomer has to get knocked down a peg or two. Kelvin Harrison Jr.—who’s on the fast track of becoming a talent to watch after 2019’s “Luce” and “Waves”—is charismatic as all get-out as David. Also, in bright but brief supporting performances, Zoe Chao sparks up the best friend role, and June Diane Raphael, especially, nails every scene for comedic effect as Grace’s hanger-on who lives in the pool house. 

As everything must come to a head, there is a major plot contrivance that would have been solved through a simple conversation years ago. However, in the grand scheme of things, director Nisha Ganatra’s film rings true and seems to get the minutiae of the music industry right in its L.A. details. “The High Note” doesn’t reinvent the wheel or change the world, but it is an enormously likable wheel that might lighten up the world for a two-hour escapism.

Grade: B