Tout au long de la nuit

1st watched 11/17/2007, 6 out of 10(Dir-Basil Dearden): Interesting jazz soap-opera played out with many actual jazz superstars of the day is amazingly watchable despite the lack of acting talent on-hand. According to my cable on-demand info, the story is a re-telling of Shakespeare's Othello(a story that I'm not familiar with I'm sorry to say) and is played out effectively by everyone involved. The setting is a 1-year anniversary for a hot couple in the jazz world(Rex and Odelia) at a rich man's swank hideout that he uses exclusively for parties of this type. The rich man is played by Richard Attenborough, who is always good in his acting stints and this one is no exception. Everything appears peachy as the couple enters the scene, but there is a hint of scandal as his drummer schemes to start his own band trying to lure away his new wife to be a vocalist in it, although she doesn't appear initially to be that interested. The tangled web is weaved thicker and thicker as the night goes on as the believable antagonist plots everyone against each other for his own gain. This role is played very well by Patrick McGoohan as we can see the evil lurking behind his eyes and it is revealed increasingly as the film goes on. Behind all this is some of the hottest jazz musicians playing original tunes providing a very unique background to the storyline as individuals move in and out of the jam session providing them a break from the drama and being kind of an exit door for the characters in the play. All in all this is a very satisfying unique movie experience that is played out well and provides good background music as well. It is definitely, cool baby!!

All Night Long (1962)

If you love jazz, you might want to check out this low budget, offbeat film about the fringes of the jazz scene as the Bob era was devolving into smaller commercial and (frankly) white audiences. It's set in Mod England, but the idea is quite American—the music, above all, but also the script and production.

If you liked the television series "The Prisoner" you might also like checking out that show's star, Patrick McGoohan, who stars here. And then, if you appreciate very loose adaptations of Shakespeare (like the nearly concurrent "West Side Story") you might see the strains of Othello at work here.

I liked it, but I know that it's largely just a curiosity, as a movie. Well, it's been deemed an "important" film by Criterion, which has released one of their spiffy (gorgeous) versions on DVD, and I think that's accurate, even if the dramatics (and a couple of plot tricks using a tape recorder) are sometimes strained. The whole enterprise feels like an art film, with a weird layer of pretension that I suppose comes from the Shakespearean overlay.

As for the jazz? Well, Charles Mingus and Dave Brubeck should be enough for you. Great stuff that you just wish lasted longer. What else? There is a liberal acceptance of the mixing of cultures and races that's great (and you have to remember how weird this was in movies back then)—the two leads beyond McGoohan are a mixed-race couple. And then there is the set itself, a single spacious club with a stairway at one end, where the camera moves with crisp authority.

Like lots of director Basil Dearden's movies, this one is different and fascinating and not quite as brilliant or insightful as it needs to be. But yeah, watch it. It's a subculture classic, for sure. With great music.

Just imagine: That Shakespearian bigger-than-life plot line, a sixties touch of psychoanalysis, a movie set entirely inside a party of swingers, great interludes featuring amazing jazz performances from some great artists such as Charlie Mingus(music scenes that also explain story line and characters), a slight bit of over-acting in colorful black and white, good filmmaking, interracial couples and drug taking in a 1961 movie, love, hate and, of course, jealousy. Who could possible miss out on these ingredients?

Just beautiful.

"All Night Long" takes "Othello" and transposes it to a jazz setting in contemporary London, or at least the London of the early sixties. It's a great idea, has a terrific cast and how could any jazz aficianado not like any movie that features this much jazz and a cast that includes Charlie Mingus, Johnny Dankworth and Dave Brubeck all playing themselves but there is a but... In place of Shakespeare we get jive and nothing dates as badly as the kind of hip dialogue that jazz musicians are reputed to have used back then. Cool just isn't cool anymore.

On the plus side, it's a Basil Dearden picture so as well as great jazz, and lots of it, we also get intelligence. Dearden knows the pedigree he has here and treats it with due respect and Patrick McGoohan is superb as the Iago figure. Others in the cast include Richard Attenborough, Betsy Blair, Keith Michell and in the Othello/Desdemona roles, Paul Harris and Marti Stevens. Unfortunately Harris and Stevens are the weakest things about the film; their lack of acting experience shows.

It is, however, a brilliant looking picture. Producer Michael Relph designed it along with Art Director Ray Sim and Edward Scaife supplied the superb black and white cinematography and, as I said, the jazz is terrific. However, it wasn't really successful and is among the least revived of all the Dearden/Relph movies but it's certainly worth seeking out and if you love jazz it is simply unmissable.

I came to this little-known British movie after watching another film director Basil Deardon had made not long before called "Sapphire" which as its main theme addressed the issue of interracial relationships in today's England. Here, he returns to this territory as he not only transposes the main plot elements of Shakespeare's "Othello" to the then present day but also imaginatively sets it in the jazz world of the time.

I'm no jazz-buff but readily appreciate that for those who are, the presence of big names like Charles Mingus, Dave Brubeck and Johnny Dankworth in the cast will make this film a draw almost for that reason alone. Actually they none of them are on screen for long and only get a few cursory lines and some brief musical interludes between them, so that they don't affect the action elsewhere, but I guess they add a flavour of authenticity to proceedings.

That action revolves around Patrick McGoohan's conniving and devious drummer Johnny, whose only way to forward his career is to co-opt retired singer Marti Stevens into joining his band. To do this he has to remove the two men he sees are in his way, Stevens' former musical accompanist, trumpeter Keith Michell and her new husband, black band-leader Paul Harris.

It all kicks off at a swinging first wedding anniversary party for Harris and Stevens hosted by promoter Richard Attenborough, the guest-list of which includes big-shot record company executive Bernard Braden as Johnny gets to work spinning his web even if it means innocent people's lives will be destroyed.

Deardon daringly posits two mixed-race relationships in the film and laudably does so in a natural and unobstrusive way. The movie itself is very set-bound with the camera rooted in Attenborough's massive apartment, contributing to the theatricality of the piece. McGoohan dominates as the twitchy, scheming Johnny and certainly impresses with his drumming skills, but there's good support for him provided by Michell, Stevens and particularly Harris, who you could easily imagine portraying the tragic Moor in the original "Othello". Betsy Blair also contributes a brief, but telling performance as Johnny's overlooked wife. Interestingly, the tragedy of the original play is given a more Hollywood-style ending, which particularly to those of us familiar with the original, seems a bit of a cop-out, although I can perhaps understand Deardon's reluctance to openly vilify Harris's character, under the circumstances.

Like I said though, the music didn't move me much and the hep-cat jive talk of this cloistered world rather grated after a while, but all in all this was an interesting and provocative modern-day take on the Bard, with a good cast, solid direction and the additional ingredient of some contemporary jazz music for those who really care for it.