As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home: a ruinous dust storm and a convertible crazily driven by Red, the ... See full summary »
Breezy is a teen-aged hippy with a big heart. After taking a ride with a man who only wants her for sex, Breezy manages to escape. She runs to hide on a secluded property where stands the ... See full summary »
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Saxophone player Charlie Parker comes to New York in 1940. He is quickly noticed for his remarkable way of playing. He becomes a drug addict but his loving wife Chan tries to help him. Written by
'Rating the Movies' stated that Charlie Parker's "...music was digitally stripped from old recordings and mixed with newly recorded rhythm tracks - a painstaking process..." See more »
When Bird is reciting the telegram to be sent to Chan, and we see the telegram being printed as he speaks, he says "Forgive me for not being in the hospital with you," but the telegram reads "Forgive me for not being there with you while you were at the hospital." See more »
Ain't it a bitch? I go to a liver doctor and I pay him $50. And it don't help me. I go to an ulcer doctor... same thing, except I pay him $75. But I go to some little cat up in a house somewhere and pay him $10 for a bag of shit and a little peace... my ulcers don't hurt, liver don't hurt. My heart trouble is gone. And this is the man I'm supposed to stay away from? Mr. Gillespie, my comrade in arms, that is what I call... a paradox.
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If you like Jazz you can't 'not like' this movie. If you like Noir you will dig the overall look of it. My only problem is that Eastwood concentrates more on presenting the tragic side of Charlie parker's life and so we get a very dark and somber film.
While we do get glimpses of Parker as 'musician', Forest Whitaker's, Parker as 'junkie', tends to weigh down the story. If Eastwood had to choose between highlighting the story of 'The greatest jazz musician of all time' or 'The premature death of a self-destructive Junkie', It's obvious which route he chose to take...the easiest one.
Ultimately it becomes more a movie about Parker's relationship with his wife Chan, and less about Parker's relationship with Jazz. In my opinion, Clint doesn't really succeed at showing us why we should love the character of Bird and maybe this was not his intention; but if a separation of the personality (warts and all) and his art is necessary to show an honest depiction; then why not also highlight the music and allow it to speak for itself? In this case, by making it a more satisfying listening experience like Formans "Amadeus" or Tavernier's "Round Midnight". The way they allowed the music be THE lead character of the movie.
Still, the improved fidelity in the remix of the soundtrack makes some of these old recordings easier digestible for those who may be new to Parker's music. Incidentally, this is the best fidelity of Charlie Parker you'll find anywhere. On the whole this is not a bad movie; It is not a complete depress-fest like two other movies about drug induced pop culture icons: 'The Doors' or 'Sid & Nancy'. Indeed this movie has its moments. There's a scene where Parker (blowing on his sax) wakes up Dizzy in the middle of the night to improvise on 'Now's the Time'. I also love the scene where he takes a gig with Red Rodney to play at a Jewish wedding. I wanted more of this type of interaction with his fellow Jazzers!
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