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Sweet and Lowdown (1999)

PG-13 | | Comedy, Drama, Music | 10 March 2000 (USA)
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In the 1930s, jazz guitarist Emmet Ray idolizes Django Reinhardt, faces gangsters and falls in love with a mute woman.

Director:

Woody Allen

Writer:

Woody Allen
Nominated for 2 Oscars. Another 1 win & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
Woody Allen ... Woody Allen
Ben Duncan Ben Duncan ... Ben Duncan
Daniel Okrent ... A.J. Pickman
Dan Moran ... Boss
Tony Darrow ... Ben
Chris Bauer ... Ace - Pool Player
Sean Penn ... Emmet Ray
Constance Shulman ... Hazel - Hooker #1
Kellie Overbey Kellie Overbey ... Iris - Hooker #2
Darryl Alan Reed ... Don
Marc Damon Johnson Marc Damon Johnson ... Omer
Ron Cephas Jones ... Alvin
Steve Bargonetti Steve Bargonetti ... Musician Friend
Benjamin Franklin Brown Benjamin Franklin Brown ... Musician Friend
James Urbaniak ... Harry
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Storyline

A comedic biopic focused on the life of fictional jazz guitarist Emmett Ray. Ray was an irresponsible, free-spending, arrogant, obnoxious, alcohol-abusing, miserable human being, who was also arguably the best guitarist in the world. We follow Ray's life: bouts of getting drunk, his bizzare hobbies of shooting rats and watching passing trains, his dreams of fame and fortune, his strange obsession with the better-known guitarist Django Reinhardt, and of course, playing his beautiful music. Written by Martin Lewison <mlewison@utk.edu>

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Music

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content and some substance abuse | See all certifications »
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Details

Official Sites:

Sony Pictures Classics

Country:

USA

Language:

English

Release Date:

10 March 2000 (USA) See more »

Also Known As:

Woody Allen Fall Project 1998 See more »

Filming Locations:

Haverstraw, New York, USA See more »

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Box Office

Budget:

$29,750,000 (estimated)

Opening Weekend USA:

$94,686, 5 December 1999, Limited Release

Gross USA:

$4,196,621, 21 May 2000
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Dolby Digital (Mono)

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Woody Allen had planned an initial version of this movie (originally titled "The Jazz Baby") as his first film for United Artists. When UA insisted upon a comedy, Allen shelved the idea for nearly three decades. See more »

Goofs

Railroad freight cars have reporting marks for railroads that did not exist in '30's See more »

Quotes

Emmet Ray: Now get dressed!
See more »


Soundtracks

The Peanut Vendor
(1927)
Written by Moïse Simons
English Lyrics by L. Wolfe Gilbert and Marion Sunshine
Performed by Howard Alden, Bucky Pizzarelli, Kelly Friesen, Ken Peplowski and Ted Sommer
See more »

Frequently Asked Questions

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User Reviews

 
For The Love Of Django
16 January 2006 | by jldmp1See all my reviews

When we try to understand genius, or love, or "why?", we run into the same problem that the ancients encountered:

"I went to the poets … I took them some of the most elaborate passages in their own writings, and asked what was the meaning of them — thinking that they would teach me something. I must say that there is hardly a person present who would not have talked better about their poetry than they did themselves. That showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them." — Socrates, The Apology

So here we have Woody telling a story about a storyteller, who talks and struts endlessly (Penn has a ball with this), but can only say anything through music, and he can't explain a bit of it. Much like Woody, who prattles on about every neurosis, but speaks volumes through his control of the medium. It's just something he's born to do.

And this is the only way to understand Django -- with only two working fingers on his fretting hand (accidental disfigurement), he reinvented the whole medium of guitar. The new shape of his hand forced him into holding octaves - which can be done on guitar with two adjacent fingers, unlike on the piano - and changing the way leads and comping - here, self-accompaniment - were played. His art was the necessary step before Les Paul, and thence to Wes Montgomery, and so on to you and me.

Here is devotion without hagiography, because all of this is wrapped into "one of those Emmett Ray stories", where you can 'never be sure' of what is truth, confabulation, or exaggeration.

Brilliance. Bravo, to all.


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