Honeydripper - Do Blues ao Rock

John Sayles, never one to avoid a political focus in movies, now brings us "Honeydripper". The movie is set in 1950 Alabama. The Jim Crow laws are still in effect, and black-white relations are limited to African-Americans performing only the most menial jobs: a number of people work in a cotton field for practically nothing (slavery has risen again!). Tyrone "Pinetop" Purvis (Danny Glover) owns a restaurant and often has singers come and play. Business hasn't been doing too well recently. Pinetop has worked hard his whole life and barely gotten by...but the possible arrival of a New Orleans singer might change things.

Aside from the great music, one can also see this movie as a look at the pivot era in the South. It's set during the Jim Crow era, around the start of the Korean War, just a few years away from the civil rights movement. One notices that even though this is still the age of institutionalized racism, many of the characters do what they can to try and have civil relationships with white people: Sheriff Pugh (Stacy Keach) is on pretty good terms with Pinetop, and Pinetop's wife Delilah (Lisa Gay Hamilton) manages to carry on a conversation with her employer (Mary Steenburgen). The music, of course, is really the best part. I certainly recommend this movie, as I have recommended every John Sayles movie that I've seen.

Also starring Yaya DaCosta, Charles S. Dutton, Vondie Curtis Hall, Keb' Mo', Kel Mitchell and Gary Clark Jr. I think that I saw John Sayles in a bit part.

I tuned into this one while trolling for a film and became immediately absorbed. The film interlocks several plots, as 'The Waltons' used to do -- the problem of keeping the night spot out of the hands of the criminal creditors, the issue of the unfulfilled wife (nicely mirrored by the alcoholic white woman for whom she is a servant), young love developing between the guitar player and lovely China Doll, a dispute between two cotton pickers (one a city slicker, the other a local field hand), the sheriff who, of course, is a racist but who loves un-spiced fried chicken, the inevitable tug of fundamentalist religion on the underclass of a rural town, and two waifs who end the film with a mime of the musicians they hope to be. I confess that I was stationed in southern Georgia a little after the time of this film and found my own experiences coming back vividly. It is a warm film, drawing on an ominous set of possibilities lurking behind the action, and it doesn't cheat with its interlocking happy endings. What a surprise!

I was able to see this wonderful little film at a special screening prior to its release in New York. I was charmed from beginning to end by the characters, situations, and John Sayles' great ear for dialog. It is 1950 in a small town in the South. Segregation is still the norm except for the recently reopened Army base nearby, which has integrated its barracks in response to Presidential order and is preparing young black and white soldiers for the newest war, in Korea. Danny Glover, in an understated, effective performance, plays Tyrone,the owner of a small blues club on the outskirts of town. A former blues pianist himself, he stays loyal to the old blues musicians who still perform there, to an almost empty house. You see, the times, they are a-changing, and the young people are drawn to the hot music available on the juke box at the bar next door. Broke and desperate, already stealing electricity because he can not pay the bill, Tyrone and his loyal friend Maceo (Charles S. Dutton) come up with a crazy plan. Advertise a Saturday night appearance by Guitar Sam, the local musical icon, charge admission, sell all the drinks he can, pay his debts, and retire into the night. Simple, right? At the same time, a young drifter wanders into town carrying a new fangled electric guitar, and sets about wooing Tyrone's lovely innocent young daughter. Add the corrupt local sheriff (Stacy Keach) who smells profit: Tyrone's tired, disappointed wife, flirting with evangelism to salve her unhappiness, and a wise and witty blind musician who comments on the action like a bluesy Greek Chorus, and the stage is set for a very eventful Saturday night. John Sayles has always excelled at portraying his characters as real people with real lives. His dialog rings true without clichés born of racial stereotypes. His men sound like real men, his women authentic. The film takes its time but is never boring; the music throughout and the highly entertaining acting are all the more enjoyable for being leisurely. Sayles is evoking a different time, and does so with wit and precision. The critics missed the boat on this one, and that is their loss. See it early and often.

The movie was enjoyable. Only complaint would be that it moved slowly, and with a two-hour length ... made it seem quite long. Reasonable plot, well composed, well acted & directed. The supporting actress for the character of China Doll had some very good moments. Tighter editing and better pacing would have made it much much better. It is not the best film in the world, but of good quality and very much worth watching - it will probably fall under the radar for Hollywood and the general populace.

The really outstanding thing was the music. While not a musical, it does stop whole-heartedly to focus on the performers and the music. Think "Black Snake Moan" but without repeated cuts/editing. Those who love blues, six-count blues and early rock-and-roll will likely enjoy the film. I intend to get the soundtrack. It apparently includes Ruth Brown's final recording, as well as work by Dr. Mable John & Keb' Mo. Newcomer Gary Clark Jr., a Texan actor and musician shows good potential. Although this performance at Chicago and New Your music festivals last year (with the "Honeydripper All-Stars" promoting the film) have larger dynamic and vitality to them. His performance of the song China Doll, which John Salyes apparently wrote/co-wrote, is on the other hand quite entertaining.

John Sayles has done it again. He has taken a world class cast (including Danny Glover),some crisp photography,a very well written & directed script & a music score to die for, and has made screen magic. The story concerns an embittered juke joint owner (Glover),an ex musician himself,trying to make ends meet with a club on the outs,who is trying one last move to avoid closure by hiring a well known musician named Guitar Sam,to try & fill his club. Add a few other elements (a wife who is serious about re-connecting with her faith,a corrupt sheriff,and other elements),and the formula for a successful story is all set. The story is set in the racial segregated South of 1950. Although the film was shot in 2007, it is now just getting some scattered distribution. This film deserves far better than it's getting. The music score (composed and/or arranged by Sayles' favourite composer,Mason Daring)is a out & out toe tapper (which includes Delta Blues,Stride Piano,Gospel,Rhythm & Blues--years before it would be coined 'Rock & Roll' by Alan Freed). Honestly, Honeydripper (the name of the juke joint coined by the films title) is one for anyone who is interested in early creative black music(s).