Mo' Better Blues

I really enjoyed this film. Everyone has a Bleek in his life: someone whose love of his life is all he knows, wants to know, etc. However, we always lose the love of our life for various reasons. Then, what do you do when the love of your life is suddenly taken from you? That is this film's theme. Bleek's only love was jazz music. Bleek's music was the only thing that mattered to him. Music overrode everything: an incompetent manager (who was his best friend), his lovers, and the contentment of his bandmates (the money issue which is related to having an incompetent manager). When Bleek lost the love of his life (watch the film to learn why), he was forced to make some hard choices about his life and face some unpleasant truths (something we've all had to do).

I enjoyed the score and the jazz pieces included in this film (after all, Bleek played the trumpet). I really liked the cinematography in this film because the film showed the beauty of New York City - the brownstones, the Manhattan skyline (a brief glimpse), the Brooklyn Bridge, etc.

One of Spike Lee's best, "Mo Better Blues" captures the atmosphere of jazz. The soundtrack flows with the acting like a song. Denzel Washington does a great job of portraying a jazzman's quest for perfection, while living in a "real world" full of problems. Being a musician myself, I appreciated the struggle Washington's character was going through. All of Spike Lee's trademark camera angles (which I've disliked in some of his movies) worked to perfection in this movie. Great music, good acting, and a solid plot. Recommend!

After the commercial and critical success of "Do The Right Thing," in which Lee announced his arrival as a major player, he choose to follow up his breakthrough with a more personal film. If you examine history, it seems all iconoclasts choose to do so after their first big success ("The Conversation," "Close Encounters Of The Third Kind," "Talk Radio"), and Lee decided to pay homage to what he's always referred to simply as "the music." Set in then-present day 1990, "Mo' Better Blues" tells the tale of Denzel Washington as Bleek Gilliam, a selfish trumpeter who fronts his own jazz quintet in an upscale Brooklyn club. The strength of the film deals with Bleek juggling his loyalties. On the love side, Bleek is caught between two women; Clarke is a sexy bombshell in constant need of Bleek's attention who's too busy centering in on his music. She's also an aspiring singer hoping Bleek will give her a chance to shine. Bleek, obviously, does not want to share the spotlight. Indigo is a thoughtful schoolteacher who is not fragile with Bleek's tremendous ego but is careful with his somewhat callous heart. At work, Bleek is wrestling with a hungry band demanding pay raises given the success they're achieving at the "Beneath The Underdog" club. Clumsily working towards the band's raise is Giant, Bleek's lifelong friend and incompetent manager, who also has a considerable gambling problem. Bleek must decide whether to trust Giant or risk losing his band, while deciding how long he can keep up the game between Indigo and Clarke.

This, simply, is one of my favorite Lee films. Thank God someone finally made a jazz film for the late 20th century, jazz had not received a proper modern makeover since 1961's "Paris Blues." Lee creates a wonderful, intimate world set off by moody lighting in shades of red, yellow and blue. His camera and editing - which was spontaneous and lively in "Do The Right Thing" - is slow and deliberate here, carefully punctuated in all the right places. This film marked the debut of some of Lee's trademark camera moves, including the 'gliding sidewalk' dolly and his slow-spin-upward pans.

Like his previous films, Lee is adept and balancing out scenes between comedy and drama. A lot of the 'band' scenes are engagingly funny, mostly guy talk with a spin of that "cool daddy jazz vibe" added. Lee is also skillful at making Bleek the antagonist of the film without rendering him completely unlikable. The "Love Supreme" montage ending seemed to stretch the film for longer than some would have liked, but I feel it was justified in order to illustrate the beauty and necessity of Bleek's redemption. Lee was also smart to reduce screen time given to the film's true protagonist, saxophonist Shadow Henderson (rendered with cool, suave sophistication by Wesley Snipes), in order to keep the audience focused on Bleek. You will also get a delicious sampling of great jazz in this film if you're a novice to such. Aside from the concert numbers written and performed by Branford Marsalis and the dreamy jazz score by Lee's father, Bill, there are great pieces by John Coltrane, Miles Davis and Dizzy Gillespie, among others. A cool, sexy film.

One of the best film's Spike Lee has ever created. Denzel Washington plays Bleek Gilliam, a selfish musician who only listens to his music. He cheats on his women and wants the spotlight only to himself. On his road to redemption he encounters betrayal, lies, and greed before he finds happiness. A happiness that comes at a heavy price. Denzel Washington and Wesley Snipes give superb performances in their roles. The supporting cast members also give terrific performances in this film. The supporting cast members include Giancarlo Esposito, Samuel L. Jackson, Bill Nunn and Spike Lee. Spike Lee gives these characters enough personality to keep this movie entertaining. Each member adds enough color commentary to the film making this a joyous event from beginning to end. Add this movie to your video collection if you haven't already.

Spike Lee is, in my opinion, one of the most exciting young filmmakers to emerge in the last 20 years. While "Mo' Better Blues" is not as wonderful as "Do the Right Thing" or "Malcolm X," it still deserves considerable recognition as one of his more solid efforts. The story is a bit uneven, but the acting and the music more than make up for it.

Denzel Washington plays Bleek Gilliam, a NYC trumpet player who fronts his own jazz quintet to sell-out crowds at a local club. He's managed by Giant (played by Lee), an irresponsible compulsive gambler who is only Bleek's manager because they're childhood friends. Meanwhile, Bleek is seeing two different women (played by Joie Lee [Spike's real-life sister] and Cynda Williams), and is torn between his passion for music and his inability to control his relationships.

Things go haywire when Bleek's sax player, Shadow (Wesley Snipes), vies for the affections of one of Bleek's women, promising her fortune and fame as a jazz singer since Bleek only cares about himself anyway.

Giant's gambling problems, Bleek's convictions as a "serious" musician, and the tightrope one walks between love and professional dedication are themes all visited in this exciting, vibrant film.

Besides the wonderful performances (by Washington, Snipes, and the always-underrated Lee standby Giancarlo Esposito, among others), Ernest Dicekrson's cinematography is stunning, and the music -- performed in real life by Branford Marsalis, who has a cameo in the film -- is dazzling. The way the "band" mimes the performances is thoroughlly convincing (although it must be noted that Bleek's drummer is played by Jeff "Tain" Watts, a real jazz drummer who actually performs on the tracks themselves).

If you're a jazz lover and a lover of Spike Lee's movies, check this out -- you'll be glad you did.