Miles Ahead: Don Cheadle’s tribute to Miles
Davis. Cheadle is Miles Davis and he gives an Oscar worthy
performance. He also co-wrote and directed the film. In this regard,
Cheadle’s performance does not quite equal the quality of his
acting. The movie primarily takes place during the five years in the
1970’s when Miles did not produce an album. It ends in 1980 with Miles’
comeback concert with cameos by Herbie
Hancock, who is now 76, and Wayne Shorter, who is 82. Unfortunately,
performances by Miles and others are limited, although the background music by
Robert Glasper is excellent. The film focuses on Miles’ temper and his
drug use with multiple flashbacks involving his wife. The timelines are
blurred and some of the scenes are pure fiction. Nonetheless, there are
parts that are absolutely brilliant and, if you are a Miles Davis fan, there
are little things that occur during the 100-minute run time that are
impressive. There is a brief scene where the television is on and
you see the first black heavyweight champion, Jack Johnson, wrapping up his
humiliation of the then Great White Hope, Jim Jeffries. In 1971,
Miles dedicated an album to Jack Johnson, but there is far more to the
connection. Throughout the film, we witness the blending of Jack
Johnson’s attitude and the free flowing spirit of a Miles album. I
suspect the more you know about Miles, the more likely you are to enjoy certain
scenes with a proportionate amount of frustration with the factual liberties
that are taken. Emayatzy Corinealdi gives an excellent performance
as Miles’ first wife, Frances Taylor. Unlike the reporter character
(Ewan McGregor), Emayatzy is believable. Arguably, she and Cheadle
are the only truly believable characters in the film. The more I think
about Miles Ahead, the more impressed I am with the film, with the most
impressive element being Don Cheadle’s performance. Seldom do I find a
singular acting performance sufficient reason to see a film.
Cheadle’s portrayal of Miles Davis is on par with George C. Scott playing
General Patton – totally dominating and magnificent.
Saturday, April 30, 2016
Saturday, April 16, 2016
Movie: Marguerite
Marguerite: French
film with subtitles. The time is 1921 and the place is an exquisite
residence outside Paris. A fund raising event is occurring and the
final presentation is an operatic performance by the event’s host, Marguerite
(Catherine Font). As the film unfolds, we learn that Marguerite and
her husband, Georges Dumont (Andre Marcon), have been sponsoring these concerts
on behalf of a music society for quite some time. The events are
always private, however, a reporter has crashed this particular concert, which
is a benefit for the war orphans. Lucien, the reporter (Sylvain
Dieuaide), writes a review entitled “The Orphan’s Voice” and describes
Marguerite’s singing as “the human truth”. Marguerite befriends
Lucien and the storyline heads towards Marguerite giving a public
concert. A major character in the story is Marguerite’s butler and
driver, Madelbos (Denis Mpunga), who is key to hiding the truth from
Marguerite - that she cannot sing. His motivation has an evil twist
to it. This 128 minute film is told with humor and, despite the
Madelbos character, with respect for the singer. The story is
presented in chapters and leads with a photograph of Marguerite posing in an
operatic role. What unfolds in each chapter is consistent with its title.
The director, Xavier Giannoli, co-wrote the screenplay with Marcia
Romano. We are told at the beginning that the story is based upon true events. A significant
difference, however, is that the real
individual was an American socialite, Florence Foster Jenkins, and not a French
woman with a moniker mockingly similar to the Marx Brothers’ character Margaret
Dumont. I understand a movie has been made starring Meryl Streep as
Jenkins. Frot is marvelous as the clueless chanteuse and her performance alone makes the film worth
seeing. But really, does her
voice have to be so painfully off-key?
Sunday, April 10, 2016
Movie: Eye in the Sky
Eye in the Sky: an excellent thriller addressing
serious ethical questions about war. The plot line is simple: British
military has located two Al-Shabaab extremists who are meeting in a safe house
in Kenya. The original plan is to capture the
terrorists. However, before the plan can be executed, the two
individuals, one British and the other American, move to a second, more secure
compound. With information gleaned from drone surveillance, the “eye
in the sky”, the military learns the terrorist are planning a suicide bombing
mission. At this point, the military’s mission changes from capture
to kill, but they must first obtain authorization for the new mission.
During this 102 minute film, the issue of collateral damage is fully
explored. Helen Mirren, in another Oscar worthy performance, plays
British military intelligence officer, Colonel Katherine Powell, who is
advocating for the strike. She reports to Lt. General Frank Benson,
played by Alan Rickman in his final movie role; Rickman died of pancreatic
cancer in January 2016. Rickman is excellent. Lt. General Benson is
in a room with the British Attorney General, a British foreign secretary and
others who have the authority to authorize the strike. Initially the
authorization is given, however, a young girl enters the strike zone to sell
bread. The drone pilot, played by Aaron Paul, who is located in Las
Vegas, insists on obtaining new authorization before he will release the
bomb. At this point, the film gets really interesting as the
authorization requests travel up the administrative chain on both the American
and British sides. The screenplay by Guy Hibbert is excellent and the
dialogue concerning collateral damage is realistic. The actors are
outstanding, even those in more minor roles such as the Somali undercover agent
played by Barkhard Abdi, who is operating a drone inside the compound area. The
film is directed by Gavin Hood. Most
military thrillers are all about the action. This film focuses on
technology and the ethical issues which arise from the plethora of information
made available through the new technology. Most importantly, the film
addresses the conundrum of the value of a single life when the consequences of
saving that particular life will most probably result in the death of multiple
others. Further, the film speaks to
the belief that a drone pilot is conscious of his role in a real life operation and is fully
aware that he is not simply playing a sophisticated computer game. The
adage spoken by Rickman at the end of the movie, “never tell a soldier that he
does not know the cost of war,” is driven succinctly
home. I highly recommend this film.
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