Could Michael Jackson ever have been a legit movie star?

When he was alive Michael Jackson made no secret of that fact that he aspired to have a career as a movie star alongside his wildly successful career in music. But unfortunately for him, his larger-than-life persona (not to mention his rapidly evolving physical appearance) made him virtually impossible to cast in any traditional film roles.

I remember reading, back during one of Jackson's particularly dark mid-90s periods (when he was struggling to overcome the stigma of allegations of child abuse and re-establish himself as a pop star), a particularly snickering interview from Hollywood insiders, who scoffed at the idea of his radically altered face being able to play on the big screen.

Ironically, he got the last laugh with his hit posthumously released concert documentary This Is It, which not only scored great reviews but revealed that Jackson was still a very potent performer and compelling screen presence even if he was physically deteriorating before our eyes.

Several decades earlier, the idea of Jackson having potential was anything but absurd. And as I've written before, his debut (and ultimately swan song) as a film actor in the cult classic musical The Wiz, demonstrated that with the right character, he could bring incredible enthusiasm and panache to a part. The film's director -- the legendary Sidney Lumet -- once said Jackson learned every person's lines including his own, and the King of Pop himself often sighted the experience as a career highlight.

Jackson on set with John Landis

The reason I bring all this up is that Jackson's seminal music video -- Thriller -- a roughly 15-minute extravaganza which still represents the peak of music video style and craftsmanship -- is being re-released and given the 3-D treatment (with the blessing of its director, the unduly unsung John Landis, who also directed Jackson in the big budget, controversial "Black or White" music video which came years later).

It will debut in August at the Venice Film Festival alongside the very revealing and entertaining Making of documentary which often aired with the video in tandem for years.

There are no official plans to release the rebooted music video widely -- and perhaps the entire endeavor is just a craven money grab to wrangle a few more bucks out of a well-trod product -- but it will at least give people a chance to look closer at Jackson's performance.

He is really a terrific as actor in the video.  He is charismatic, genuinely credible as a love interest opposite former Playboy bunny Ola Ray, and he even shows a knack for a little light comedy in his early scenes before he transforms into a particularly vicious looking werewolf.

Perhaps his incredible pop superstardom would have made it impossible for him to play anyone other than himself, and he was already becoming one of the most recognizable stars on the planet. But the Thriller music video does give a glimpse of how he could have been used before his own ego and eccentricities got the best of him.

Still, for my money, the most interesting performance he ever gave as an actor is in Martin Scorsese's often over-looked super-sized version of the "Bad" music video.

Recently resurrected and given its due in Spike Lee's Bad 25 documentary, this black and white street narrative is dated to be sure but surprisingly effective, especially during the tense moments between Jackson and a young Wesley Snipes who play former peers who have gone in different directions with their lives.

Jackson plays Daryl, a kid from the neighborhood who gets ridiculed for eschewing the criminal life for a pursuit of higher education (with the subtext of race ever present, he even wears a hoodie). Snipes is the ringleader of his former cronies, who nudge him towards mugging people. In one particularly effective moment Snipes goads Jackson, who is so vulnerable he appears to be on the verge of tears. He finally snaps and in his trademark sneer he says "You ain't bad, you ain't nothing!"

It's a stirring little moment, that feels entirely real. Some far smarter film critics than me have often pointed out that untrained, unprofessional actors are uniquely suited to deliver moments like this because they are often not acting at all and the reality of the filming seeps onto the screen.

Jackson was reportedly skittish about filming in bad neighborhoods and genuinely intimidated by some of his brooding, burly co-stars. All of this atmosphere -- coupled with Scorsese's fluid camerawork -- create a perfect fusion of cinema and music and another shining example of what could have been with the King of Pop.