MANILA, Philippines—Just 18 days before his “This Is It” comeback concert series was scheduled to start its London run, King of Pop Michael Jackson died of cardiac arrest. His shocked and grieving fans felt that he was lost to them forever—but not for long.

They were heartened by reports that many hours of rehearsal videos had been recorded during the show’s long production process, and that the footage would be edited into a tribute film that fans could watch in lieu of the much-awaited concert.

That filmed musical has finally hit our screens, and the good news is that it’s worth the long wait. At long last, MJ fans have a farewell show worth remembering their musical idol by. Even better, the movie includes “reality” footage that shows Jackson on top of his musical game, painstakingly tweaking his show into one of his best productions ever.

It looks like he really did want what would turn out to be his farewell show to be a superlative production that would delight and excite his fans—and, in some numbers, he succeeded.

His topnotch production team, led by Kenny Ortega, also came up with a number of staging concepts that made the show memorable, like a deft reediting of iconic film footage that enabled Jackson to visually “interact” with the stellar likes of Rita Hayworth and Humphrey Bogart!

Also deeply appreciated was MJ’s environmental anthem, pulsating choreography, and the showcases he generously provided to highlight emerging talents like rock guitarist Orianthi Panagaris, singer Judith Hill and dancer Danielle Rueda Watts.

Jackson has often been described as a demanding perfectionist, but his support for young performing artists shows that he also had a generous, giving heart. Are the two contrasting views of MJ contradictory? Not necessarily, they simply underscore the fact that he was a confoundingly complicated artist and person, with a lot about him to hate—and love.

In the final analysis, however, it’s all about the music, and “This Is It” proves that Jackson’s musical gift is slated and fated to endure.

It goes way beyond his signature snaps, pops and ticks and even his dreamy, creamy moonwalk, leapfrogs over his destructive personal demons and obsession with plastic surgery and androgyny, and could hark all the way back to his early childhood, when he was compelled to become his family’s top breadwinner and put up with parental violence.

In the light of those dire challenges, the young and vulnerable Michael could have found comfort and surcease in his music, but it turned out to be incapable of salving his deepest hurts and fears.

It is to Ortega’s production’s credit that, aside from entertaining viewers, it also enables them to get to know MJ better as a person. Even when his mannerisms are potential turn-offs, they hint at the immense pressures he’s had to deal with throughout his life, so they are eloquently instructive.

At film’s end, therefore, “This Is It” is much more than the sum of its parts. It bids farewell, provides closure, reaffirms stylistic cliches, shows Jackson often at his best and sometimes at his petulant worst, etc. Ultimately, however, it pays tribute to an exceptional albeit conflicted artist for all musical reasons and seasons, the likes of whom we may never see again.