4/5 stars Director George C. Wolfe has the unenviable task of bringing alive a feature film – adapted from August Wilson’s 1984 play about beloved blues singer Ma Rainey – that largely takes place in a couple of rooms. The story of how the irascible Rainey (played by a marvellous Viola Davis) settled in for a recording session in 1920s Chicago, it’s a sultry, sweaty number that will be remembered not just for Davis’ stinging turn but the final performance of Chadwick Boseman. The Black Panther star, who died earlier this year aged 43 , already had a remarkable body of work to his name, to which can now be added the volatile Levee, a session musician with dreams of performing his own songs. It’s a combustible performance, full of anger and rage. Even without his death, it would be right up there with the best of Boseman’s career. But when he recites Levee’s line about mortality – “death will kick your ass and make you wish you never been born!” – it feels shocking. However, it would be unjust to focus on Boseman or Widows star Davis, who is almost unrecognisable, her physique made to look heftier and imposing. Others in the band include Cutler (Colman Domingo), Toledo (Glynn Turman) and Slow Drag (Michael Potts) – and the chemistry between all of them fizzes at times. Wolfe, who 15 years earlier made another music-infused film, Lackawanna Blues , wisely retreats to let these actors tangle with each other. Right in the heat of it all is Ma Rainey, an uncompromising character forever giving the runaround to her white paymasters – including the beleaguered record producer Irvin (Jeremy Shamos), who is desperately trying to appease her. The moment she arrives at the studio to lay down the vocals for what became known as Ma Rainey’s Black Bottom , she’s complaining – demanding a fan and a bottle of Coke in the sweltering summer heat. Produced by Denzel Washington, who previously adapted Wilson’s play Fences for the cinema and has apparently signed a deal with Netflix to bring another eight of his works to the screen, Ma Rainey’s Black Bottom never quite escapes its theatrical origins, despite production designer Mark Ricker’s excellent work in recreating old-time Chicago for the few exterior scenes. Yet for those seeking out a character-driven piece – one where issues of race, sexuality and creativity all fuse into a scorching dramatic cauldron – Ma Rainey’s Black Bottom is where it’s at. Ma Rainey’s Black Bottom will start streaming on Netflix on December 18. Want more articles like this? Follow SCMP Film on Facebook