Thelonious Monk: Straight, No Chaser

This is a documentary but almost a straight concert, featuring jazz pianist who performed mainly in the 1950s and 1960s and is a legend in music circles.

I say "concert" because there is as much music, if not more, than dialog. Most of the tunes are excerpts from various much-longer numbers he did. Most of them are performed by Monk but some are done by other musicians. The coverage is in black-and-white and well done. Photography-wise, I particularly enjoyed the closeups of Monk's face as he performed. He wasn't the most articulate man so perhaps that is why this is more concert than documentary. He acted as if he were stoned most of the time. I don't know his history so I can't comment further on that topic.

Not being a jazz fan, I can't appreciate his music as others would, but I'm being honest.....and I still enjoyed watching this even though I own only a half dozen jazz CDs. I imagine those who love jazz would have to own this. It's nice that it's available now on disc.

Before seeing this movie, I wasn't much into Jazz, focussing most of my musical interest in rock: especially punk, new wave, classic, and industrial.

This movie completely blew me away! I had never seen piano performance before (or since) that was remotely like this. Seeing Thelonius play made me realize that I had been entirely neglecting a musical genre that was at least as cutting edge as the rock I had been subsisting on.

_Straight, No Chaser_ works because Eastwood and the director realized that the best way to present Monk (or perhaps any musician) is to maximize performance footage and minimize commentary. There is copious footage of Monk performing here, and I defy anyone with a sliver of interest in music to watch it and not come away with deeper appreciation of jazz.

His technique must make piano instructors cringe, though!

Jason K.

Monk is one of those artists that even the very casual jazz fan knows – a group which I very much include myself in. So many of us would instantly put a name to it when we hear Round Midnight for example, but really wouldn't be able to talk much about the man himself as "proper" fans would. This was sort of what attracted me to this film because I was interested to know a little bit more about the guy. It is both a good and a bad thing that this film doesn't do that particularly, since it is not really a documentary in terms of having lots of facts and insight thrown at you.

This was a little disappointing given the agenda which I came to the film with, but it was replaced by other things to enjoy since the film is very much about the music – which I guess the man was too, so that works. This focus is facilitated by lots of footage which was apparently found in the 1980's which was filmed inside the studio, out on tour, in hotel rooms etc. There isn't too much talking in this footage; I'm not sure if Monk was particularly talky but if he was then it doesn't come over in the footage we have here. What there is though is music being played live while the camera watches, small moments observed and some contributions from friends and family (although really the vast majority of the film is the music). This is welcome as it all good stuff and has that extra addition of seeing it being performed rather than just listened to on CD.

If you are looking to get informed about the man and his story then this isn't the film for you, but if you like his music and want to see it performed on this very nice looking footage then it will be a very enjoyable 90 minutes and is well worth the look for that.

Clint Eastwood presents: a documentary about jazz genius. Thelonius Monk is portrayed as an artist both blessed and cursed just by his genius. Apart from typical format of 'talking heads' of the genre master (John Coltrane), collaborators, figures from music business and Thelonius, Jr., there is shown small but intense piece of the musician's life: in the studio, on the road, during live concerts. And a note about unusual, long-lasting friendship between Thelonius and Baroness Nica de Koenigswarter. The makers were able to grasp tension coming from creative process (songs being written on the run, then played in front of huge audience without proper rehearsal), routine of life on tour with ever-tendering wife Nellie by his side, biased or just silly questions from journalists, more or less visible symptoms of mental illness (which might have been confused with artist's mannerisms, stage antics or eccentricities at most). And trademark exotic hats (could anyone else in the 20th century look cool in that historic Polish head thingy?). Another memorable thing is Monk's diction and his simple, street-like way of talking, being in contradiction with the kind of a man he was (supposedly extremely complex one) and with undeniably sophisticated music he composed and performed. Luckily, there is plenty here of the latter. Chamber, suggestive film in black and white about an extraordinary man. And a must not just for "jazz purists" but music lovers in general.

The facts in the life of the virtuoso jazz pianist are somewhat neglected in favor of the music itself, with most of the film devoted to various live performances and rare, behind-the-stage rehearsal footage. The latter scenes give this otherwise straightforward portrait its most revealing moments, showing how complex and exacting the work of jazz composition and arrangement can be. Biographical details are filled in by friends and family but never probed in depth: was Monk, for example, actually suffering some form of mental illness, or was his peculiar behavior merely the pose of an eccentric artist? If for no one else the film is a must for jazz fans and musicians (it was produced by Clint Eastwood).