Mbatha-Raw: ‘Beyond the Lights’ questions sexualization of pop stars

TORONTO – Gugu Mbatha-Raw knows that some people working behind the scenes of “Beyond the Lights” weren’t initially fans of hers.

For the role of a young singer on the brink of both a break and a breakdown, some involved with the movie envisioned an established pop star. Fortunately, Mbatha-Raw had the stubborn support of accomplished writer-director Gina Prince-Bythewood, who simply wouldn’t budge.

“Gina really believed in me,” said Mbatha-Raw during the Toronto International Film Festival, where the film premiered. “I think that initially certain studios were pressuring her to go with someone who was already a pop star to play the role. (But) the point was to have an actress because then you can really see this journey for what it is. You don’t bring all of your cultural baggage to somebody you already know.

“Gina is so passionate and tenacious and soulful and she refused to compromise on her vision, which I think is really a testament to the movie you see.”

Well, Mbatha-Raw rewarded Prince-Bythewood’s faith. They wanted a pop star, so Mbatha-Raw transformed herself into a pop star.

The rollicking showbiz melodrama casts English actress — herself considered a star-in-waiting after her lead performance in last year’s “Belle” — as Noni Jean, a considerable talent steered tightly toward stardom her entire life by her laser-focused manager mother (Minnie Driver).

With the spotlight finally beckoning — the singer has three chart-stalking hit singles, a Billboard Music Award and a tight reign on newstand covers — Noni sheds her ever-present handlers, retires to her hotel room and tries to throw herself off a balcony.

The L.A.P.D. cop on security duty who catches and pulls her back — portrayed by quietly intense Nate Parker — becomes an overnight star and, soon, a romantic foil for Noni.

Though the film, which opens in Toronto on Friday, is knowingly and shamelessly sudsy, it also aims for cultural credibility. Noni’s original songs — oversexed pop bangers that only tip-toe into satire — were co-written by R&B mastermind Terius (The-Dream) Nash, and the accompanying videos are as shiny-sleazy as the mainstream’s basest offerings.

To move, sing and model like a pop star, Mbatha-Raw “sweated it out” with Toronto choreographer-to-the-stars Laurieann Gibson for hours every day, honed her tone with vocal coach Debra Byrd and burrowed into hip-swivelling YouTube clips for tips. She read biographies of Marilyn Monroe and Judy Garland, she wandered backstage at the Grammys and she went to see Beyonce and Rihanna perform live in L.A.

Even Mbatha-Raw’s smoldering chemistry with Parker was hard-won. They went on a date in-character and also journeyed to Disneyland together, just to get to know each other.

Well, maybe that part wasn’t all that difficult.

“It was just a joy to work with Nate,” gushed Mbatha-Raw, 31. “He’s a real actor. He’s very committed and he’s very principled and he’s a real solid presence.”

The film drew in a constellation of stars for cameos, including 10-time Grammy winner Chaka Khan, British singer Estelle, Kanye-adjacent rapper Big Sean, Oprah Winfrey pal Gayle King and NBA stars DeAndre Jordan and Amar’e Stoudemire. Their participation, Mbatha-Raw suggests, owed to the reputation Prince-Bythewood built largely with the widely adored “Love & Basketball.”

Mbatha-Raw is winning raves for her nuanced performance (Hollywood Reporter called her “incandescent” while Variety opted for “superb”), portraying someone who could become very famous just as soon as she forgets about being herself.

Whether stripped to near-nothing at photo shoots or treated as a spectator during creative meetings, Noni becomes witness to the grime in the industry’s machine — something that Mbatha-Raw saw first-hand as she prepared.

“Making this film helped me explore the dark side of the music industry and the potentially exploitative side of the music industry for young girls, and how record companies groom people into an image they think they can sell,” she said.

“That’s really the message of the film: that even though we’ve become so numb to the sexualization of women in pop music, to actually maybe just question that and raise a discussion that maybe that’s not the only way to sell music.”

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