Whether or not you are a fan of his music, there is very little doubt that Pharrell Williams is one of the most influential artists of the past few decades, embodying the concept of being a renaissance man in how he not only pioneered an entire style of musical expression, but worked as a writer and producer for countless artists, amassing both peers and protégés over the years and essentially becoming someone whose artistic output has been seen as quite revolutionary on quite a large scale. However, he has been quite closely guarded about his personal life, which has seemingly been kept quite private, and his tendency to avoid scandals or scuffles has been admirable to say the least. However, it was only a matter of time before his life story was told on film, and while Michel Gondry is currently working on one that is set to be released this year, we’ve also seen an even more revealing work coming in the form of Piece by Piece, in which acclaimed documentarian Morgan Neville collaborates with Williams on a film that is essentially a hybrid between biographical comedy and documentary, two genres that don’t often meet, but which still nonetheless work exceptionally well together in the context of this film, which proves to be quite an engaging affair for a number of reasons. Told entirely through the use of LEGO (which has itself become an oddly resonant form of artistic expression, and one that tends to be surprisingly nuanced when done well), the film follows Williams and Neville in a lengthy conversation, interspersed with vignettes and interviews with a range of other visionaries in the music industry, all of which comes together to form a wonderfully endearing portrait of a truly original artist who has continuously redefined what music can be, and who uses his own imagination to shepherd this terrific retelling of his childhood into something deeply engaging and unique.

The musical biography has become such a common trend in Hollywood, we’re gradually seeing a movement towards films that actively acknowledge their popularity, as well as their own intention to entirely redirect their efforts into subverting these conventional stories and presenting them in a far more original way, since they are often reviled as being cheap and mere fodder to make money off nostalgia and win awards from those who seemingly are only able to judge acting based on its accuracy in imitating a particular figure. We recently saw Better Man, the Robbie Williams biopic in which he is portrayed by a CGI monkey, and while that seems like a peculiar choice in theory, it makes sense when we find out precisely the thinking that went into such a decision, even if the final product is not particularly as effective as its ambition may suggest. Piece by Piece follows the same principle in terms of trying to do something entirely different, with Williams pitching the idea of making this documentary entirely in the form of LEGO, a peculiar decision but one that actually turns out to have exceptional merit. Williams has always seen himself as someone who works in construction – his musical pursuits are based on observing the small details that go into the production of these artworks, and he has managed to create a thriving career through taking these building blocks of artistry and placing them together in unconventional and exciting configurations. This immediately prevents the film from being viewed as entirely trivial or just a mere novelty that exists for the sake of standing out, and instead allows it to flourish as a creative, daring piece of cinema that provides an unconventional but effortlessly charming way of exploring the subject and his life, doing so in a manner that is as experimental and unorthodox as Williams’ work – and just as entertaining, with the unique approach having strong results.

However, as engaging as it may be in principle, Piece by Piece is not entirely without its flaws, and we find that it does tend to feel somewhat trivial after some time, even if it is still more intriguing than a majority of similarly-themed films, which gives it the illusion of being much more complex than it actually is, offering us something compelling but not being entirely consistent in terms of following through on its fundamental ideas. This film hinges its success on the extent to which the viewer can leap onto its wavelength, surrendering all logic and just following the story as it is presented on screen – the moment we attempt to assert rational thought, or begin to see the seams beneath the surface, is precisely when it loses its impact, since the entire experience depends on our willingness to simply embrace the absurdity of the film. However, this is not the only area in which it slightly falters – the novelty of the film begins to wear off midway through, and it ultimately begins to feel very scattered. It’s not entirely sure if it wants to be a documentary or a comedic recreation of the subject’s life, and while it is always possible to function as a very effective hybrid of the two, it feels somewhat limited in its scope, while still attempting to be overly inventive, which is a peculiar combination. Ultimately, the challenge with Piece by Piece is that it realised its potential to do just about anything based on its style, but in the process it loses some of its heart and soul, since it becomes more about the spectacle than the emotions, which often seem to be drowned out by the constant attempts to be as subversive and experimental as possible. Some very tender moments don’t register as all that impactful because they are shrouded in layers of off-the-wall colour and humour, and as compelling as the animation may be, LEGO does not always facilitate the most earnest, clear demonstration of emotions, which doesn’t entirely diminish the film (since it isn’t designed to constantly be provoking more melancholic emotions), but it does remove the impression that would be made by an otherwise more elegant and clear approach to those pivotal moments.

Yet, these are only minor gripes in a film that is actually far more captivating in practice than we may actually expect. In much the same way the global population seemed to feel a sense of collective incredulity towards The LEGO Movie over a decade ago, we are just naturally pre-wired to be cynical to anything that sounds trivial or inconsequential, merely existing to see if it can be done. Experimentation in cinema is always important, and in much the same way that we breathed a widespread sigh of relief when it turned out that that film was a major success, we find that Piece by Piece is actually far more compelling and well-crafted than our initial scepticism would have allowed us to believe. There’s something very charming about the simplicity of this film, which sets out to capture the spirit of playfulness that has always defined Williams’ life in both his personal and professional endeavours, and while its far from the most detailed, precise examination of his rise to fame and his efforts to change the industry he feels such affection towards, it does offer a worthy overview that is genuinely quite moving and captivating, even when it is at its most rudimentary. There’s something quite endearing about a film that manages to be this open-hearted and sincere, carrying a sense of humour that is often difficult to find in more mainstream endeavours, with absolutely everything that goes into the production feeling special in some way. Neville himself deserves a lot of credit, since while we can assume it was not primarily his idea to make this film in this way, he is adaptable enough to the suggestion, and uses his well-defined artistic flexibility to turn Piece by Piece into more than just an adorable novelty, finding ways to emphasize the importance of the underlying themes while also creating something outrageously entertaining and freequently endearing, being a fantastic attempt at challenging the well-defined borders of a genre that has become over-saturated to the point where it has gone beyond parody.

Piece by Piece is a solid film constructed from the most compelling ideas – pun absolutely intended. It is a colourful, ambitious work filled to the brim with charm and elegance, enough to capture our attention and keep us engaged throughout. Those seeking a hard-hitting, thorough exploration of the subject’s life may not get everything they seek, since this is still a film that is designed to be more entertaining than it is informative, but this only highlights its exceptional value, since there is something truly extraordinary about everything that Neville does to highlight the ingenuity of Williams and his astonishing career. On the surface, it seem slightly trivial and perhaps silly, but rather than attempting to add gravitas to the point where it becomes difficult to embrace, they surrender to the madness of the premise and fully lean into its peculiarities, proving that anything can be convincing if those involved in its creation have the wholehearted belief that it is going to bring about a genuine reaction, and are fully committed to its premise. It isn’t revolutionary nor is it entirely insightful, but it’s a well-crafted, colourful odyssey through the life and times of a truly original artistic voice, with the detailed filmmaking and meaningful narrative overtures creating something extremely memorable and unquestionably touching. It’s a bold, ambitious work that pulsates with unique energy and profound joy, and is the perfect tribute to not only Williams, but every rambunctious, artistically-minded individual, showing the value and virtue of following your dreams and believing in yourself – and it all amounts to something quite special.