Through this “Ma Rainey’s Black Bottom,” The new Netflix drama based on August Wilson’s acclaimed stage drama, the title character flows into a monologue. “White folk don’t understand blues,” giving music to Rainey (Viola Davis), An innovator At the crossroads of blues and jazz with an unwavering belief in its own expressive engine.
“They hear it come out, but they don’t know how it got there,” she says, as she reads in 1927 to record in a studio in Chicago. “They don’t understand this is the way to talk. You don’t sing to feel better, you sing because it’s your way of understanding life. “
As Renee speaks, time begins to stop. The gap between his words and the white society is ready to make himself widely known to us. You realize that he is a fertile place where his music is present – an uncontrolled field, full of emotion, expression and restraint to interfere with politics and law.
But maybe this scene is only so shocking, because its variety has been rare throughout film history. With few exceptions, films rarely tell the story of jazz through the lens of black life.
Now, late, late, this is the beginning to change.
Veteran theater director George C. Directed by Wolff, “Ma Rainey Black Black” is one of three feature films that focused on jazz and blues this holiday season; All were created by black directors or co-directors. The other two are stories from New York City: “Sylvie’s love,” By Eugene Ash, a young jazz saxophonist and an up-and-coming TV artist and “Soul,” a Pixar feature Directed by Pete Doctor and co-directed by Kemp Powers to experience the death of a pianist hunting open questions about inspiration, compassion and how we all navigate the endless paradigm of life amidst despair and resilience. Uses.
The films portray the Black protagonist in bloom – musical, visually, thematically – giving these characters a dimensionality and a depth that reflects the music itself. It calls for Tony Morrison’s explanation for why she wrote “Jazz,” her 1992 novel: She wanted to explore the changes in African-American life by the Great Migration – change, He wrote later, “Is abundantly pronounced in music.”
New films supersede many, though not all, issues of dogged jazz films in the past that have historically done a better job crossing the boundaries of white gaze, where music springs or surpasses its power Appears for. White listening and patronage actually record nothing but a distraction or necessary discomfort in the narratives of these new films.
Earlier this year, Kevin Whitehead published “The Way You Feel: Play the Essential Guide to Jazz Stories on Film” A survey of the long history of jazz on the silver screen. As he notes, jazz and cinema grew up together in the interwar period. In those years and beyond, Whitehead writes, films continually whiteen jazz history: “After film, in the film, African-Americans who invented music are marginalized when white characters Do not stop them completely. “
it was true “new Orleans,” The 1947 film starring Louis Armstrong and Billy Holiday was about the rise of Armstrong, but was rewritten at the behest of its makers, which placed the story of white romance at the center. it was true “Paris Blues,” A 1961 vehicle for Paul Newman and Sidney Poitier, based on a novel about the interracial love affairs of two jazz musicians; However, the main element was more or less erased in the screenplay. The film is ultimately about Newman’s struggle with trombonist Rama, to convince himself and others that jazz is worth his passion. He insists that a career as a caretaker musician requires such eccentric devotion that he will not be able to maintain a relationship.
Over the years, jazz has featured prominently in Damian Chazelle’s work onscreen. His “Whiplash” (2014) and “La La Land” (2016) tell the stories of young white men who, like Rama, are tortured to play jazz and feel excellence. In these films, jazz is a challenge and an albatross. But in “Sylvie’s Love,” “Ma Rainey’s Black Bottom” and “Soul”, the music is more of a salve: a river of possibility to walk through a hostile country, and – as Renee Wilson says in the script – Just the language of life.
“Injury” Focuses on the relationship between a demonic music teacher (played by JK Simmons in an Oscar-winning performance) and his most committed young student, Andrew (Miles Taylor), driven by a desire to become a master drummer. A glimpse into the film Current jazz lifetime Among conservatives, where students learn its language through charts and theoretical frameworks, most teachers pay very little attention to the spiritual or social compositions of music. Here again, we come up against a little misunderstanding – and profoundly disappointing – idea that devotion to music cannot coexist with romantic love and care: Andrew’s dating demeanor is devastating, and he proudly points out Is that it is due to music.
“La la Land” A pianist follows Sebastian (Ryan Gosling), a few years away from music school. Initially, he saw the tape deck perforated in his convertible, an eccentric monk trying to recall the notes on the recording as if they were several times tables. He sees himself as a patron of past glimpses of jazz, and is committed to opening a club that will patronize what is often groomed as “pure” jazz. It is a cultural heritage, which a fellow musician played by John Legend gently reminds him of, he has not asked for his help at all – though he does not hold it back.
There is a difference between the ways these characters relate to jazz, Robert says.N Namadi Asomugha), Saxophonist in “Sylvie’s Love”, or pianist in “Soul”. As Sylvie watches Robert play, she is watching him deeply into himself. There is no difference between who is on and off, except that it can be a freezer there. Performance does not become an unhealthy obsession; this is life.
While “Sylvie’s Love” hinges on a “Paris Blues”, such as the tension between art and romance, the two are finally able to coexist. Spike Lee’s “Mo ‘Better Blues” (1990) and “Crucklin” (1994) merge halfway through, which shows what jazz musicians love for love marriages. (Lee, whose father is a jazz musician, doesn’t seem easy. But possible? Yes.) “Sylvie’s Love” takes that struggle and melts it away, as does a great screen romance.
On many levels, the most expanding and affecting of new jazz films is “soul”. A pianist and middle-school band teacher who is on the verge of death when his soul speaks in the Great Bifor, where untimely souls prepare to enter the body at birth. There he meets the 22, a reclusive soul whom powers have failed to assimilate into a human body.
In his class, Joe (voiced by Jamie Foxx) heard glimpses of Jazz improvisation, a true story about the famous pianist John Batiste, who Coined music Joe, who plays, had told the film’s director, doctor and co-director, Powers. “This is the moment where I fell in love with jazz,” says Joe, the first time he stepped into a jazz club as a child. As he speaks, he caresses the keys of the piano. “Listen to that!” He says. “Look, the tune is just an excuse you. “
Joined in intensive care after an accident and his soul moves out of his body, he and 22 plan to bring her back to life. All souls, he comes to find out, need a “spark” that will touch their passions and guide them through life. He immediately knows that his piano is playing. He says, he has a purpose in life. But one of the spiritual guides-cum-counselors, who populate the Great Before (all named Jerry), quickly sets him straight. “We don’t serve the purpose,” says Jerry. “Where did you get that idea? Spark is not the purpose of the soul. Oh, you mention and your passions – your ‘purpose,’ the meaning of your life! So basic.”
Their conversation is surprisingly left open. But the point becomes clear, insofar as it is subtle: the meaning above, above purpose, by any means to the end, is simply life. Which is to say, music.