Por Volta da Meia-Noite

Herbie Hancock's Oscar winning score is the marvel that proves that the Academy screens even the smallest films for consideration. Dexter Gordon is brilliant in an Oscar nominated performance as an improvising and misunderstood jazz genius whose speciality is the tenor-sax.

The film is set in 1950's Paris and Gordon is supported in his art by a loyal Frenchman who is his biggest fan. The way the film moves in pace is equivalent to listening to a warm and richly textured jazz score with medium movement. In fact, turning down the volume and watching it with sub titles suitable to your language while listening to that type of jazz score through headphones is a great way to enjoy it. Better yet, do it with the film's authentic score. It cooks!

Dexter Gordon plays Dale Turner, an aging tenor sax player at the end of his days. Beaten but unbowed by years of drug and alcohol abuse Turner arrives in Paris (1959) for a gig at a small, smoky, jazz club. Acknowledged as one of the greats he is joined by other stellar musicians as he quietly struggles to quell his demons and make great music. For a while, at least, he succeeds at both. Gently constructed without much plot this movie is a treat for all, and a grand slam home run for jazz fans.

This is jazz-fan's delight: tons of jazz, featuring tenor saxophone with some bebop thrown in. Most of the music is nice mellow stuff and interesting to hear, even to a non-jazz buff like me.

The music and interesting story made me purchase the DVD, which I have subsequently watched three or four times and always enjoyed. The story is pretty laid-back, a simple tale of an American alcoholic sax great playing in France who reforms because of a French fan who cares about him.

Dexter Gordon's unique voice makes helps him become an interesting character to hear and the real-life jazz great proves to be a decent actor, too. Francois Cluzet plays the admirer who goes out of his way to help his idol. Gabrielle Haker is pleasant to watch as Cluzet's young daughter. She always seems to have a beautiful smile on her face.

I don't why this film was rated "R" because there is no sex, no nudity, little profanity except for a couple of "f-words," which must be the reason for the rating. Nevertheless, it's a pretty tame movie.

I found it a different and nice, gentle story.

In the Existentialist '50s, bebop jazz expanded beyond Manhattan and became all the rage in Paris. French intellectuals such as Sartre (in his pro-American hotdogs-and-bourbon phase) applied their knowledge to the music of poorly-educated African-Americans and discovered that this too, like the cinema of Jerry Lewis, was something they could like about America.

Director/scenarist Bertrand Tavernier, a veteran of the St. Germain des Pres scene, crafted "Round Midnight" as a nostalgic tribute to a now-vanished European musical scene. (The Blue Note Club is a studio set, the original having been pulled down). Melding the life stories of pianist Bud Powell and sax man Lester Young into a memorable character called Dale Turner, Tavernier benefited from the fortunate casting of real-life musician Dexter Gordon to play this role.

Gordon spent much of his working life in Copenhagen and in 1963 made a record with Powell in Paris. The two were part of a large group of black American jazzmen who gigged across Western Europe as the 52nd Street scene back home began to wane. Essentially, Gordon played himself, for which he deservedly received an Oscar nomination on his first try.

Musicians are not necessarily actors, but "Round Midnight" is bolstered by strong performances from a number of U.S. and French jazz players paying tribute to their own. As pleasant as the film's musical score is, "Round Midnight" succeeds because the cast of music professionals shows what they can do away from the bandstand.

A vivid portrait of a Bud Powell/Lester young type who, like the vast majority of American jazz artists, receives more appreciation and love for his art overseas than here in the U.S. even though this is where Jazz was born.

It saddens me every time I watch it because jazz is still so under-appreciated in this country. And we can largely thank commercial radio for that.