Avaliações do Metacritic

The film may not take quite as many chances with the documentary form as Armstrong took with the opening cadenza of “West End Blues” (recorded by Louis Armstrong and His Hot Five in 1928) but it is a daring work, a worthy and affectionate statement about the most important single figure in American popular music, 20th Century Division.

In this Golden Age of biographical musical documentaries, the filmmaker who is now working on an Ed Sullivan doc has taken a subject we thought we knew all we needed to know about, and all but re-introduced him to a new age. Well done

Most of the participants who knew Armstrong are dead and there’s something melancholy about realizing that the human being behind that voice is silent. What remains is a quality that Marsalis identifies as essential in Armstrong’s music, a gift which he was fully conscious of, conveying a “transcendent joy” through sound.

Luxuriating in a wealth of archival material that encompasses radio and TV interviews, privately recorded conversations from reel-to-reel tapes (Armstrong could swear like a sailor), and good old-fashioned newspaper clippings (remember them?), this documentary about the great Louis Armstrong is a real keeper.

The film is a trove of Armstrong’s love of music and his labor. And because so many of those who lend their insights are now departed, it has the feel of a mausoleum worthy of a humble yet celebratory “Saints Go Marching In” second line.

Built around excerpts from Armstrong’s home audio recordings, which he made in private over the decades, the documentary is far from exhaustive and yet, as a primer for why Armstrong remains influential, this inquisitive portrait successfully manages to render him as both a titan and a nuanced human being.

If Black & Blues returns to the same melody a few too many times, it doesn't diminish the overall achievement, which feels free in a way that these sorts of films rarely do.

"Black & Blues” is a doc that will make you appreciate Armstrong, the man. Someone far too complex to reduce to any one thing.

Jenkins has given the documentary a structure that’s largely chronological but primarily thematic. The shifting around makes for a nice flow. The film moves along crisply without ever feeling hectic or rushed.

A delightful experience for jazz buffs and more than an eye-opener for any youngsters who barely know who Armstrong was, it’s worth applauding just for its belief that it can meaningfully touch on private life, public persona, musical legacy and everything else — even if, on each front, it leaves one wanting more.