david thomson on films that are jazz, not about it

though i liked bird, i agree with his premise — and the sublime ellington score to anatomy of a murder is worth noting, as he says [link]

I’m picking Gould [in “the long goodbye”] because of the loose, liberated, comic spontaneity of his movements, his muttering and his being. Think of that opening scene where he wakes in the middle of the night and faces his cat in a duel over the right cat food. He talks to the cat, he talks to himself, he hums, he groans, he flexes and plays off the frosty alienness of his pet. It’s not that he’s “cool”, or “hip”, or a “stoner”, though those ideas can be picked up. It’s as if this Marlowe – so far from Chandler’s very sharp-minded narrator – is a mellow opacity through whom the film is projected. He is like Lester Young, in his room, alone, warming up. He is like Dexter Gordon in Round Midnight. It is one of the great rehearsals in American film, and it swings.


0 Responses to “david thomson on films that are jazz, not about it”

  1. Leave a Comment

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: