The film is a biopic of the Father of Soul, Ray Charles (Jamie Foxx). The story is told under an unrestricted narrative. To enhance the readability of the film, director Taylor Hackford builds up 3 dimensions of spatial orientation in the plots: (1) the present (40-60s); (2) Ray's memory of his childhood (in flashbacks) and (3) Ray's meditation (illusion) arising from the fear of his childhood experience. The film carries a positive theme of endeavours, admission & correction of misbehaviours, which is much positive than the theme of adventurism in "The Aviator" (admitting that the two share much similarities in portraying the imperfection of great persons, narrative structure and adoption of temporal and spatial orientation).

The movie is a rare one in which almost all characters are black (in US films). The plot is an entire pursuance on Ray and it entails a brief piecemeal portrayal of the black community in the States. As a device to enhance the degree of reality and persuasiveness (recognising that the film is a commendation on Ray), it strengthens the historical code by referring to other famous American musicians of the 50-60s: Quincy Jones (Larenz Tate) (on screen), Nat King Cole (off screen) and Frank Sinatra (off screen).

In filmic elements, Hackford adopts an intensive use of diegetic songs which often function as a sound bridge that crosses not only several shots but 2 sequences of different spatial orientation as well. As a feature of musicals, the volume of the diegetic songs is enhanced (so that music/songs are dominant) whereas that of the vocals is subdued in the musical sequences (in which Ray plays and sings). Hackford also uses intensive cross editing and montage in the second half of the film to synchronize the mood of the viewer with the pace of the film. The movie comes with cluttered mise-en-scenes and a multiplicity of cinematographic language. Mobile framing features Ray's psychological instability upon his drug addiction. Shots/Reverse shots by showing Ray's ear (an emphasis) into mise-en-scene portray his reliance on audio clues. Arial shots of Ray in the hospital depict his inability and physical hardships during medical treatment. The film also witnesses Hackford's beloved use of inter-titles for orientating the spectator in temporal and spatial dimension. Most establishment shots of the locale in the diegesis come from a number of footage. There is a preponderance of iris (in and out) and wipe-out in transition device. Vocal motifs serving to elaborate on Ray's behaviours and decisions are prominent in the narrative.

Although parts of the plots are out of realism (e.g., blind young Ray's detecting the insect on the floor, Ray's hearing the flying bird outside the restaurant), the story is persuasive and the theme behind is positive. The staging of Jamie Foxx is excellent. Ray's mother, Della Bea Robison (Kerry Washington) and young Ray (C. J. Sanders) also stage well. While "The Aviator" ends with the dejected and futureless eyes (in an extreme close-up) of Howard Hughes, "Ray"'s epilogue is touching under Ray's opening of the Gordian Knob by his disenchantment from the illusion and panic of the past. Unlike "The Aviator" in which Hughes is gifted and his introspection enchants him with the eccentricity, the deprived Ray in the film has a positive introspection of his life and the introspection is remedial in nature (i.e., freeing himself from the excruciating panic of the past).