Stormy Monday - Lunedì di tempesta

Stormy Monday has a fairly routine plot, with a few odd twists to it. What makes it special? Three things.

The atmosphere of the movie makes you feel as if you're having a nice evening out on the town, making your way from pub to pub. You can almost taste the beer, and smell the smoke. Most of the story is shot on location in the old Newcastle city center. If you're in the right mood for something like this, then it's perfect.

Secondly, the characters are interesting and engaging, yet enigmatic. You want to know more about them. None fit the typical Hollywood stereotype. Sting, Sean Bean, Melanie Griffith, and Tommy Lee Jones (a relatively obscure actor then) are all in top form.

Third, if you enjoy jazz, then this is a must-see. In that regard, it is comparable to The Cotton Club, Round Midnight, or Bird. The visiting Polish jazz band reminds me of the struggling young musicians in Leningrad Cowboys Go America. This was clearly made by someone who appreciates good music.

This movie, released in the late 1980s, may be hard to find. But it's worth it.

Cosmo (Tommy Lee Jones) is an American businessman with lots of connections, most under the table, who arrives in Newcastle on Tyne to seal deals. The celebration of "America Week" in England announces the malling of Great Britain as American monies of dubious sources invaded while the Thatcher government turned its head. Into this cesspool, Kate (Melanie Griffith) a local waitress and formerly an "escort" for Cosmo is recruited to play nice to business associates he sends her way. Rolling over the small business owners like Finney (Sting) a jazz club owner, Cosmo has no qualms about getting what he wants whether by legit or illegitimate means.

A sub-storyline to the economic takeover by Cosmo is the love story between Kate and Brendan (Sean Bean), an Irish laborer who cleans toilets in Finney's club, but over hears the plans of two London seedy types who discuss how to make sure Finney sells the Kit Kat Klub to Cosmo. After informing Finney of their intentions, Brendan's loyalty is rewarded by his elevation to a go-for babysitting a progressive jazz band, the Krakow Jazz Ensemble who need to be picked up at the airport for a weekend gig. While Brendan carts the band around town, he falls in love with Kate. During their time together, Kate and Brendan are jumped and beaten by the roughs who surround Cosmo. The drama is predictable until a surprise twist and unexpected negotiation change the dynamic, and saves the film.

The story line entwine to provide worthwhile entertainment for an hour and forty minutes, and the actors all provide solid performances. The soundtrack is a nice mix of 80s Brit sounds and cerebral jazz tunes with Sting doing a solo bass bit mid-film although he does not sing. Tommy Lee Jones is wonderful with an evil yet subtle humor to his business dealings and the sight of a young, buff and naked Sean Bean is delightful.

A good afternoon film for a rainy day, if only for the performances by actors not usually cast together, and for director, Mike Figgis, an underrated early film worth checking out.

These days a romantic thriller usually means sex, violence, and lots of neon lights, but underneath the typically sultry mood of this latter-day film noir there's a cool intelligence at work. Writer director Mike Figgis combines several strands of plot which otherwise have little in common, involving a moody nightclub owner, a dangerous American entrepreneur, his part-time mistress, and her new, younger boyfriend, all of them in an industrial British seaport dressed up for a hands-across-the-water civic promotion. A movie so self-absorbed with mood and imagery shouldn't work as well as this, but what sets the film apart from other neo-noir facsimiles is the unusual trans-Atlantic blend of talent and the emphasis on cross-cultural confusion, best expressed by a free-jazz rendition (by the Krakow Jazz Ensemble) of the Star Spangled Banner. The atmospheric visual style isn't enough to camouflage the shortcomings of the script, but Figgis maintains the drama at an admirably low-key level, and the location photography in the city of Newcastle takes excellent advantage of an appropriately gritty urban environment.

I really enjoyed this movie. I'm a big fan of film, but more than that, I'm a fan of actors. Strong acting, as far as I'm concerned, can redeem even the worst of movies (under the right circumstances) - and it's wonderful when the film itself is already good.

Such is the case with Stormy Monday, the directorial debut of Mike Figgis (who would later have great success with Leaving Las Vegas). The casting seems somewhat unusual, but in the end is quite effective. I have never been a big fan of either Melanie Griffith or Sting, and by contrast, have always enjoyed Tommy Lee Jones and Sean Bean, so I was unsure of what to expect. But all four impressed me greatly with their performances. This is a film which requires the use of one's senses - we see the hopeful expressions on Griffith's and Bean's faces when they meet for the first time; we hear the frustration in the voice of Jones' crooked businessman when he can't seem to get his way, and the resolve in the voice of Sting's jazz club owner when he refuses to give in to Jones.

The cinematography (by the excellent Roger Deakins) is classic film noir, and when combined with the wonderful jazz soundtrack, creates a moody atmosphere not often seen in 80's cinema. Overall, this is a success - dark, atmospheric, and absorbing, an actor's showcase and a film enthusiast's smorgasbord. There should be more like this one!

Brendan (Sean Bean) gets a job at a jazz club working for Finney (Sting) in England. Corrupt Texan businessman Francis Cosmo (Tommy Lee Jones) recruits escort Kate (Melanie Griffith) for a mysterious job. He arrives in town trying to buy up the area including the club. Brendan starts going out with Kate who is a waitress at a restaurant. Finney turns out to have a darker side with a criminal past.

The first half is a bit of a muddle keeping some central mysteries. It does go down some good dark noir alleys. There is plenty of jazzy brass music. It's rainy and moody. I guess the plot can be seen as a bit jazzy. These are interesting characters. I would like the story to be clearer.