Review: ‘Little Richard: I Am Everything’ makes the case for Little Richard’s unimpeachable greatness in the driest format imaginable.
Of all the early rock-and-roll progenitors, Little Richard arguably best embodied the spirit of the music—its rebellious temperament, its cross-racial appeal, its youthful ecstasy. He imbued the piano with rhythm and blues, frenetically pounding on the keys to generate an up-tempo sound that matched his gospel-influenced vocals.
The handling of Little Richard’s queerness—both his embrace of his sexual identity and his subsequent rejection of it—represents’s most compelling and frustrating qualities. Commentary around his gender performance frequently brings the best out of the film, such as when writersuccinctly argues that the South is “the home of all things queer,” and that queerness isn’t just about sexuality—it’s “about a presence in a space that is different from what we require or expect.
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