Movie Review: Bolden

PLOT:

Bolden imagines the compelling, powerful and tragic journey of Buddy Bolden, the unsung American hero who invented Jazz. With little biographical information and no found recordings of his music, the film’s narrative composes fragmented memories of his past, against the political and social context in which his revolutionary music was conceived. The birth of jazz was the birth of American popular culture influencing everything that followed in its wake – from Louis Armstrong to Jimi Hendrix, The Rolling Stones, The Fugees and Dr. Dre, Bolden is where it all began

REVIEW:

What did I like?

Did you hear Buddy Bolden play? One of favorite places to go in New Orleans is Armstrong Park, a place dedicated to the memory of the great Louis Armstrong. Along with the giant statue of Louis is a 3 headed sculpture of Buddy Bolden, representing his schizophrenia. I have studied many of the great trumpet players during my day, but Bolden is mostly a footnote, or rather a name that needs to be known. Not much is known about Bolden and the lone recording has yet to be found, as the film shows. Seeing a jazz icon, albeit one that not many know about, come alive once more on film is a grand treat.

Satchmo. While we don’t know much about Buddy Bolden, he was a larger than life figure in jazz history, especially for those who were coming up at the time, particularly a young boy who would go on to become the greatest jazz musician of all time, Louis Armstrong! The film uses a radio broadcast of Armstrong that Bolden was listening to in the asylum to frame the plot/flashbacks. Reno Wilson does a surprisingly accurate job of portraying the great jazz master and nailing down his mannerisms. For the most part, he gets the voice down, but he slips out now and then. I understand that he learned how to play trumpet for a little more accuracy. Kudos, Reno, kudos!

Descent into madness. Gary Carr was tasked with the unenviable job of not only portraying Buddy Bolden and his cornet playing, but also his downward spiral. The drugs, alcohol, women, and finally the schizophrenia that was his ultimate end. Carr isn’t known for much, but if he keeps up with roles like this, he’s sure to be a household name soon

What didn’t I like?

Punch-out. A side plot of sorts involves Bolden’s manager and his side hustle of managing African American boxers. No doubt this is a practice that was going on at the time, a practice carried over from the slavery days, but it doesn’t seem to gel with the rest of the film. There is no payoff for it. We see Bolden in the crowd, but he doesn’t do anything. Something happens to his manger following the last fight, I won’t spoil what, but in all honestly, that is something that could have been told in a line of dialogue. I don’t know, I just didn’t see the reason to include the boxing, I guess.

Wife and kid(s).In the early parts of the film, we see Bolden courting his wife and attempting to convince her mother he’s a good man. Not long after she moves in with him (and his mother), she has his child (on her own, with no help….rather bloody scene). Someone mentions that this may not be Buddy’s only child. Fast forward to near the end of the film and we have yet to see said child(ren) and his wife only appears in one more scene, sitting out in the rain waiting on Buddy to come home so she can swiftly kick him out. For all of that, she might as well have been given as much time as his one night stands (mad props to the casting director for casting some thick, attractive ladies, btw). I understand, being his wife, she deserves more time, but there is an air of disappointment with the finished product.

Stale. This was an ambitious project, to be sure, but I cannot say in good conscious that it delivered on the goods. Everything is here for a good film…acting, music, story, but the ingredients need something a bit more. I read somewhere that perhaps this would have worked better with a different director. Daniel Pritzker being a musician, not to mention a billionaire, helped get this film into production, but I do wonder what more capable hands would have been able to accomplish with this material. Maybe i wouldn’t feel as if I just ate leftovers from the back of the fridge.

FINAL VERDICT:

What did I think of Bolden? It is a film that divides me, that’s for sure. The trumpet player in me was eating up the history, glad to learn things about the great Buddy Bolden, as well as take in the atmosphere of turn of the century New Orleans. The part of me that reviews movies…well, I wish I had kind words, but this film didn’t light any fires in me. If not for my interest in the subject matter, I am almost 100% sure I would have fallen asleep. Would I have missed anything? I can’t say that I would. So, do I recommend this? No, unless you are interested in the myth of Buddy Bolden. Otherwise, best to skip this one.

3 out of 5 stars

Movie Review: Whiplash

PLOT:

A young and talented drummer attending a prestigious music academy finds himself under the wing of the most respected professor at the school; one who does not hold back on abuse towards his students. The two form an odd relationship as the student wants to achieve greatness, and the professor pushes him.

REVIEW:

What did I like?

Jazz is life. Full disclosure, not only am I an avid jazz fan, I also perform here and there when I get the chance on one of my other lives. With that said, I may have a slight bias toward the subject matter of this film, but it should be noted that the number of films that deal with jazz, at least in this authentic way, are few and far between these days (they were a bit more commonplace between the late 40s and 60s). Seeing a film that deals with jazz education in a loving, reverent way, as well as giving audiences a soundtrack that will get their toes tapping and fingers snapping is a true feat, not to mention throwing in some jazz history in the dialogue (listen to Fletcher speak on Charlie Parker).

Practice pain. Whether you played an instrument or not, at some point, everyone wants to play drums because it is the “cool” instrument. At least it is until you get to high school and see the extra fees, time, etc that come with being a good percussionist, rather than just a drummer. It takes lots of practice to be good, even more to be great. As a freshman drummer at a prestigious music school, one can imagine the pressure to stay on top. Add to that an instructor who is hard as nails and pushes his players to their very limits and it is no wonder Andrew, played by Miles Teller, was practicing so much his hands were bleeding. I can’t say that I have known any drummers that have practiced that hard, but I never went to a music school where your whole life revolves around performing, either. The pain of watching Andrew make sacrifices to be the best, especially at his young age is real, and the audience can sympathize.

Fletcher. Think for a minute about J.K. Simmons. What do you best know him from? For me, it’s his perfect casting as J. Jonah Jameson in the Toby Maguire Spider-Man movies (and the quick cameo at the end of Spider-Man: Far from Home). As good as he is in that role, no one would ever call him Oscar worthy. That is until he takes on the role of Terrence Fletcher. Fletcher gives Simmons the chance to really flex his acting chops, relish in being a complete asshole of a person, and is quite the memorable character. I had a few jazz instructors in my day, none of which were anything like this guy. They were more nurturing and understanding. However, I can’t help but wonder had they been more like this how different things would have turned out with my continuing jazz education.

What didn’t I like?

Make it look real. The general public won’t notice this because most are not musicians and/or have not picked up a horn since they quit middle school band to take art, but in almost all of the band scenes, it is more than obvious they are not playing. For me, this was most obvious in a scene where the band is performing the title track “Whiplash” and the trumpet section is supposed to be muted, but not a single one of them has a mute. There aren’t even any on stage! Granted, as a trumpet player, that sticks out to me more than it would anyone else. I will give Miles Teller credit, though. His drum skills looked real. From my understanding, he actually did play drums at one time, so it was easier for him to learn some more advanced techniques (or how to make it look like he knows some advanced techniques) than it would be for a non-drummer. Please don’t get me started on how some of the tracks sound more like a midi device, rather than an actual band. That is a topic for another day.

Death by rushing. I find it rather funny that a film where one of the most quotable lines is “are you rushing or are you dragging” happens to do both. The ending is rushed. In the last 30 minutes, something happens between Fletcher and Andrew that causes a rift, spurred on by the one time we actually see some emotion from the former that isn’t pure rage and anger. It would have been nice to get a little bit more about that situation and the fallout from it, rather than just a quick mention, then something happens, and then the next thing we know everything is hunky-dory. As far as the dragging part goes, well, any scene that doesn’t involve music in some way drags this film down. For instance, there are some scenes where Andrew watches movies with his dad and these just seem to grind the film to a halt, especially since his dad isn’t really much of a character in the film.

Supergirl. I love Melissa Benoist as Supergirl and have recently been watching her time on Glee. She is that attainable level of cuteness that leads you to believe she is approachable, even if you’re a hideously deformed “chud”. Jennifer Garner has a similar vibe. Benoist is also a really capable actress, but that isn’t shown in her scenes. Had this been a romantic comedy, her character would more than likely have been integral to the plot, but as it is, she is the token crush that is sure to be spurned for a sexier model. In this case, said model is Andrew’s desire to become great. As someone who dumped a good girl like this in college for a similar reason, this really hit me hard. Benoist’s character isn’t into music, especially jazz, but for some reason I can see her being totally supportive, maybe even pushing Andrew to even greater feats and heights, but alas, the poor girl is dumped and save for a couple of phone calls, we don’t see her again.

Final verdict:

What did I think of Whiplash? Again, I have a slight bias because of my relationship with the subject matter, but I can say that this was a highly enjoyable films. Fletcher is a quote machine. Teller’s work as Miles is worthy of recognition. The music is top notch, totally fitting the ensemble we are watching as far as level of difficulty. This is a drama, but not a heavy, slit your wrists and spiral into depression drama. For all the accolades this film received, after watching I feel as if it actually could have won more. Kudos to director Damien Chazelle, a man who has a real affection for jazz (as seen with this film and La La Land) for bringing his love and experiences with the genre to the public. I wish more would take their passion for certain subject matter and purvey that into their work. We would surely have better, more entertaining films, rather standard studio poisoned flicks. Anyway, do I recommend this? Yes, very highly! Whether you’re a fan of jazz or not, you’re sure to get a kick out of how well this film is made, as well as enjoy Simmons throwing chairs, stands, screaming obscenities, and other antics that no instructor would be able to get away (legally) today.

5 out of 5 stars

Movie Review: Born to Be Blue

PLOT: Set largely in 1966, Baker (portrayed by Ethan Hawke) is hired to play himself in a movie about his earlier years when he first tried heroin. He romances actress Jane Azuka (a fictional character, a composite of several of Baker’s women in real life, portrayed here by Carmen Ejogo) but on their first date, Baker is attacked by thugs and his front teeth smashed. As Baker recovers from his injury, his embouchure is ruined and he is unable to play trumpet any better than a novice. Meanwhile, he must answer to a probation officer, and ensure he is employed, while sticking to his regime of methadone treatment.

REVIEW:

What did I like?

The man, the myth, the legend. When one thinks of the legends of jazz, the names that come to mind are Louis Armstrong, Duke Ellington, Count Basie, Ella Fitzgerald, Glenn Miller, Billie Holiday, Miles Davis, etc. Further on down that list is Chet Baker, an underrated trumpeter and vocalist whose drug addiction kept him from achieving greater things (a recurring theme amongst jazz musicians, it seems). The film, while giving us a look into who Chet Baker was, mostly focuses on his addiction and the struggle to comeback after he had his jaw broken (circumstances related to his drug addiction). Most biopics would have stayed away from the topic or just touched on it, opting to give us more of a history lesson, but with this film we are made well aware of the damage the drugs did to Baker’s personal life and career, but not before we get to know and like him as a person.

Music. You can’t have a film about a musician and not showcase his music. While I would have liked for the film to give us more than what amounts to a monologue about Baker’s early career, as it progressed we got more and more of his music, culminating with his iconic rendition of “My Funny Valentine”. The entire score has a 60s jazz feel that fits with the tone of the film; a nice compilation by the film’s composer David Braid.

Stakes. I mentioned earlier how this film focused on Baker’s comeback from addiction and having his jaw broken. What I didn’t mention was how that even though we know the final outcome, the audience is still on the edge of their seat in anticipation waiting to see what will happen. Will Chet get back on the stuff? Will he get a steady job? Will he get back to playing like he was before the beating? Will Jane leave him?

What didn’t I like?

Flashbacks. Throughout the picture, we get these flashbacks or visions that Chet has. I’m not sure if they are brought on because of the heroin, are done for the audience’s benefit, or exist just to make the film seem more artsy, but it would have been nice to have some context with them, rather than just taking us out of the story. Things are made worse because the actress that plays his current girlfriend also plays his wife, so you can’t tell who is who.

Dizzy and Miles. On the Mt. Rushmore of jazz trumpet players sit 4 genuine legends. Maynard Ferguson, Dizzy Gillespie, Miles Davis, and the immortal Louis Armstrong. Dizzy and Miles are portrayed in this film by actors who favor them in the face, but that’s it. The cat that plays Dizzy reminded more of one of the guys from Boyz II Men. The actor doing Miles is a much closer resemblance than Don Cheadle in Miles Ahead, but I felt he just wanted to capture the angry black man spirit that Miles took on during this period. Basically, I was glad to see these guys included, but disappointed that they weren’t portrayed better.

Trumpet. As a trumpet player, whenever I see an actor pick up a horn in film, I cannot help but scrutinize their “playing”. To this day, the best at this is Antonio Banderas in The Mambo Kings. Ethan Hawke isn’t too far behind him, though. There are times when he actually does seem like he is playing! Speaking of playing, after Baker’s accident he is supposed to be re-learning how to play. That’s fine and dandy, but what we hear from him on screen, other than in the bathtub and a couple of early scenes, doesn’t sound much different that what we heard when the film opens and what we hear in the final scene at Birdland (a major jazz club in New York at the time). Again, as a trumpet player, I may hear things that a normal person wouldn’t when it comes to the horn.

Final verdict: Believe it or not, I was avoiding this film thinking it was going to be some depressing, melodramatic,artsy-fartsy flick. To a point, it was, but I was also entertained and impressed by the attention to detail and passion Ethan Hawke brought to this project. I’m glad they didn’t dwell on the interracial relationship between he and Jane, but  it was mentioned twice and you can rest assured they heard all sorts of things, especially during the period in which this is set. When push comes to shove, though, is this a film for the general movie goer? No, it isn’t. This is a picture for fans of Chet Baker, jazz, trumpet, Ethan Hawke, and maybe Carmen Ejogo. That doesn’t mean it can’t be enjoyed, but the audience for this is a little more niche than say that for Fast & Furious. I won’t be rushing to purchase this, but if someone were to give it to me for a present, I catch it on TV, or it comes back to Netflix (it will be leaving shortly after I finish typing this), then I will gladly watch it again.

4 out of 5 stars