In 'Round Midnight, real-life jazz legend Dexter Gordon brilliantly portrays the fictional tenor sax player Dale Turner, a musician slowly losing the battle with alcoholism, estranged from ... See full summary »
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
Wesley Snipes' character, Shadow, purchases a stack of John Coltrane CD's with an American Express card. When he shows his American Express card he smiles and says: "American Express. Gold card, pow. Been a member since 1989". In 1989, Snipes had another encounter with the American Express credit card, in the movie Major League. Snipes' character, Willie Hayes, acts in a commercial for American Express in which he slides into home saying "American Express, don't steal home without it". See more »
During the performance of Bleek's "Pop Top Urban 40 Funk Love ... Song", Bleek's headgear changes from hat to baseball cap. See more »
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.
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