Mo' Better Blues (1990) 6.4
Jazz trumpeter Bleek Gilliam makes questionable decisions in his professional and romantic life. Director:Spike LeeWriter:Spike Lee |
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Mo' Better Blues (1990) 6.4
Jazz trumpeter Bleek Gilliam makes questionable decisions in his professional and romantic life. Director:Spike LeeWriter:Spike Lee |
|
| Watch Trailer 0Share... |
| Cast overview, first billed only: | |||
| Denzel Washington | ... | ||
| Spike Lee | ... | ||
| Wesley Snipes | ... | ||
| Giancarlo Esposito | ... |
Left Hand Lacey (Piano)
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| Robin Harris | ... |
Butterbean Jones
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| Joie Lee | ... |
Indigo Downes
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| Bill Nunn | ... |
Bottom Hammer (Bass)
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| John Turturro | ... |
Moe Flatbush
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| Dick Anthony Williams | ... |
Big Stop Williams
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| Cynda Williams | ... |
Clarke Bentancourt
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| Nicholas Turturro | ... |
Josh Flatbush
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Jeff 'Tain' Watts | ... |
Rhythm Jones (Druns)
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| Samuel L. Jackson | ... |
Madlock
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Leonard L. Thomas | ... |
Rod
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| Charles Q. Murphy | ... |
Eggy
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Opens with Bleek as a child learning to play the trumpet, his friends want him to come out and play but mother insists he finish his lessons. Bleek grows into adulthood and forms his own band - The Bleek Gilliam Quartet. The story of Bleek's and Shadow's friendly rivalry on stage which spills into their professional relationship and threatens to tear apart the quartet. Written by David <DGOWERS6@CHECLABA.SCU.EDU.AU>
Spike Lee's latest 'joint' is a jazz variation of 'She's Gotta Have It', with the genders reversed: maladjusted trumpeter Bleek Gilliam (Denzel Washington) juggles two lovers while indulging an almost neurotic addiction to his music. His compulsive behavior is, presumably, a consequence of strict childhood practice habits, but if all work and no play have made Bleek a dull boy, the same can't be said of the film itself: Lee's self-conscious homage to music and fatherhood suffers from a dizzy overabundance of distracting, Scorsese-influenced 'style'. The film has been criticized for its stereotypical supporting roles, but the primary characters are likewise only skin deep. Except for some early childhood Freudian motivation, Bleek remains more or less a cipher, and his contrived, fantasy redemption (after a series of false endings, each one more lame than the last) seems tacked on only to provide a neat, symmetrical resolution.