When I told an acquaintance I was on my way to Manhattan to see This Is It, the just-released Michael Jackson film, I got a roll of the eyes and a shrug.

“It’s just a bunch of people making money on a dead guy,” he said.

OK, you know what? All the business-first pragmatists, the habitual cynics, the perpetually glass-half-empty folks can keep carping about how people are exploiting a music legend that died, but try seeing this film and then let me know if it doesn’t shake up your thinking. It is rehearsal footage of Jackson’s in-progress “This Is It” tour. Pure music and dance and message.

If ever there was a doubt of director Kenny Ortega’s genius, it is displayed in layers through this project. First layer, bringing an audience a final chance to witness sheer artistry in Jackson himself. Second layer, letting us in on the genesis of what eventually becomes the magic we typically see in final product and how even process can be exhilarating. Third layer, and the most surprising for me, letting us watch the musicians, backup singers and dancers Jackson had selected to be with him on this last monumental tour. They are the crème de la crème of their respective crafts and their energy gave a special dimension to this film experience.

“At first, I pulled back and thought, ‘I’m too emotional, I’m hurting too deeply, I’m confused, I’m lost, I’m afraid,’” Ortega told Parade. “Then I went, ‘Get it together man, the journey’s not over. This is your responsibility.’”

That is how it felt. Like someone needed to take responsibility for bringing Jackson’s messages to the masses: be in your art, love the Earth, love each other. There is teaching and a symbiotic meshing of expertise going on, one scene after another. At one point when Jackson is working with the musicians on getting a rhythm just right, he says to his musical director, “Let it simmer” and “Bathe in the moonlight.” Mmmm. This is mastery at work.

There are several parts of the film where lead guitarist Orianthi -- a rocking, blonde-haired Australian woman who grew up loving the likes of Jimi Hendrix, Eric Clapton and Santana -- is showcased with Jackson. Fans of the song “Beat It” will recall that Jackson called on Eddie Van Halen for the original recording, so strong is the guitar role. In the film, Orianthi riffs while Jackson encourages her with, “It’s your time to shine.”

Is it ever. But she’s not alone in getting her chance.

The dancers’ stories, which we hear in the beginning and interspersed throughout, are mostly about how Jackson influenced them to be dancers and how auditioning for him was a dream come true. I was particularly struck by Mekia Cox, who struts it out with Jackson in “The Way You Make Me Feel” and is clearly enjoying herself immensely. As a creative who thrives when all cylinders are clicking, it is mesmerizing to watch others have that moment of pure joy.

When Jackson performs “Billie Jean” he is not accompanied by his dancers on stage, but it’s not like they’re off having a coffee break. They are sitting in front of the stage, rapt, and it is in fact fueling Jackson’s performance. Amazing stuff.

I know I’m gushing, but I could hardly catch my breath throughout. Tears rolled down my cheeks in the beginning and a few minutes later, goose bumps went up my arms, the kind you can feel almost in slow motion. I wanted to move with the songs on many an occasion and did on others. It was a staggering sensory experience.

Near the end of the film, while the whole ensemble is in a big circle holding hands, Michael Jackson tells them there is no need to be nervous and then he says of the audience, “We want to take them places that they’ve never been before.”

I hope it’s some consolation that they accomplished that mission. Hands down.

Nancy Colasurdo is a practicing life coach and freelance writer. Her Web site is www.nancola.com. Please direct all questions/comments to FOXGamePlan@gmail.com.