Bolden: A Sensação do Jazz

I was much more excited to see how well the movie trailer was put together, promising a well done historical biopic film. While the scenes are beautifully done in a fantasy fashion, the costumes and scenery seemed period correct; the story was a bit hard to follow, pieced together like a patchwork quilt. I would love to see the working script from this film as it must have taken a genius to put this hodgepodge film together! I did wind up deciding the writer/director must have taken his cue from the inner thoughts of the troubled soul of this musical genius, Buddy Boldon. As it is said, there is a fine line between genius and lunatic. I will give this film 5 stars as I feel the settings, acting, musicial orchestration, etc, was well done, even though the story was a bit hard to follow.

I knew nothing about Buddy Bolden before seeing this film and after seeing it I know even less. This film is put together like a two hour trailer, the scenes jump around in time and never seem to build to a satisfying emotional conclusion. There are individual shots that promise something interesting, but never seem to finish. Even the jazz numbers which are well arranged by Wynton Marsalis, do not get to finish. And most music varies in fidelity and we move thru time and space.

The period details are perfect as is the music, sounding like it's played on period instruments. The performances are believable especially Gary Carr as Buddy Bolden who presents a broad range of emotions. He can be exhibiting a youthful energy exploring the nascent possibilities of jazz, or suffering trough rough parts of his life. The most familiar face in the cast is Ian McShane, but his charter is presented in such a choppy way, I have no idea who his character was or how he figured in Bolden's life.

I saw this at a special screening with the writer director Dan Pritzker in attendance, and he acknowledged that no recording of Bolden exists and so little is known about Bolden that he has no idea if he invented jazz or not, he just thought it was a good tag line.

Taken from the perspective of Bolden's asylum residency and the reflections of his life, success, frustration and failure, I found the movie at times restless, but overall very interesting. The period sets, costuming, and social tension make the movie work, as the shards of his life and his ambition dovetail into his ultimate failure and loss. In reality, little is known of his music or the facts of his life, but his influence was profound and shaped jazz (jass) music. To do Bolden justice I would be happy to see a proper documentary, but if this movie keeps his accomplishments in our culture's mind then it was a good endeavor. Now go read his Wikipedia page, and listen to some early King Oliver or Louis Armstrong records!

"Bolden" will transcend you into a hallucinogenic state and is an interesting approach to the conventional biopic.

In this drama based on a true story, although much of his life remains a mystery, Buddy Bolden becomes the first cornet king of New Orleans.

Overall, "Bolden" isn't for everyone. The film features solid performances from its cast, an excellent score by Wynton Marsalis, but the story can become confusing to viewers. I understand that much of Bolden's life is almost of myth, which is why writer/director Dan Pritzker took the approach he did. A vision of a life that will be underrated, but if you enjoy jazz music and a fresh take on the biopic drama, check out "Bolden".

Go see it or wait to see it at home.

Many reviewers must have missed the part of Ken Burns Jazz that centers on most of the roots of the truly American form of music from the last century? Buddy Bolden was the style influencer for Louis "Pops" Armstrong, who grew up in an adopted setting in New Orleans. Armstrong often heard Buddy Bolden playing on river boats from the river banks into the wee hours of the morning. His adoptive parents recognized the value of music and instrument training early on. When they took Armstrong to select an instrument to learn, they hinted around about a woodwind or string instrument, but Armstrong was already hooked on the Coronet from listening to Bolden and others in the City.

What may be very distracting to some of the viewers is the fact that Bolden was a schizophrenic with hallucinations and deep depression, For this, he was eventually institutionalized. The story is managed as Bolden sees it, eventually from his cell at the asylum that he was interned into. This is not any harder than following about any Quentin Tarantino movie or others which find a way of describing current and past sections of time into 90 or so minutes of film.

This film has the burden of also showing how even the most talented people of color were often taken advantage of by crooked, managers, record companies, theatre owners and other grifters and swindlers in the entertainment industry of the time. I believe they do an exceptional job of placing Bolden within the reach of several unsavory characters beset on separating him from his music and talent in order to pad their own pockets.

Wynton Marsalis wrote and orchestrated the music for this film and likely is the only living human being capable of doing so with the true essence of the time, characters and musical theme of the times. From "Jazz", by Burns et.al., Marsalis explains the voices of the New Orleans sound and the POP of the Bolden style that he was ultimately famous for both as unique and as a major influence to Armstrong, one of Marsalis's iconic performance player. In "Jazz", Marsalis narrative and emotion in discussing these two, Bolden and Armstrong, reveals his feelings for them and their places as Jazz icons of the first degree.

If only they had a scene with Sidney Bechet (1897-1959), the New Orleans sax player that would have been about Bolden's age. Mr. Bechet was a brawler. If he didn't get paid right for a gig, he would take his fee out in damages upon the locale he was playing in. He was also a victim of unscrupulous dealings with the white ownership structure in New Orleans. Early in life, he left the US for Europe where he and many other Jazz musicians of the time went to play to full houses of appreciative, jazz starved fans. Remember, those fans did not yet have records. Live performances were the rage of the time.