Blue Jazzman – Tyler Perry
– #Blue #Jazzman #Tyler #Perry
There is no denying that Tyler Perry is a writer capable of producing fascinating works, but Blue Jazzman it is further evidence that the director is not sure where he is best.
His distorted, geometric, and nihilistic retelling of Fritz Lang Beyond a Reasonable Doubt why Cinema booksJacques Rivette tried to define the cinematographic personality of the German filmmaker, and he described Lang as an “conceptual cineaste.” As Rivette notes in his review, Lang’s concerns within the film on both a narrative and emotional level are reconciled only with necessity; there is “no compromise […] made here every day, in detail: any comment on the weather, the cut of the clothes, the grace of the gesture; If one knows about makeup, it’s for plot purposes.” He even notes that the characters themselves function less as individuals and more as vessels to allow such themes to play out; everything serves Lang’s ideas. has invested in, or is interested in, the exploration. In that sense, the cinema of the idea that Rivette presents here is naturally interested only in its method of presentation: one that looks at its inner logic, it is not concerned with anything that reflects the real acting. Lang, we do not consider this as a means to an end, but as an end in itself. Conceptual cinema, then, is viewed more for its own sake than for anything else.
Tyler Perry, an American cinematographer of a very different nature (although he is as economical in his production as Lang in his American pictures), works more or less in the same vein. He does not control his characters in any way – if anything, they describe their personal characteristics and characteristics at the drop of a hat – and whatever they want to do, they will say, and encourage them to carry out what they are going around. any idea marks Perry’s interest at the moment. That is, Perry’s “drama” pictures; you see, Perry, originally a playwright engaged in the great tradition of Shakespeare, only writes two types of texts: comedies and plays. The farces will usually dress up as Mabel “Madea” Earlene Simmons – the iconic, if also very poor and borderline, personality that helped launch Perry’s career – and, generally speaking, reform, tawdry matters, at least this one. In the eyes of critics, they’re not very funny or all that warm-hearted (there was one released earlier this year if you’re really itching to try one).
Dramas, however – or, to be more precise, melodramas, because that’s what they all are – can sometimes exceed Perry’s limited cinematic language and directorial tendencies. Address as Fallen Grace It’s not really good in a traditional sense, but the dizzying floor mechanics and crazy history from the Georgian sub-genre (you can easily see why these people don’t live in LA) can border on real camp. There’s also a fast shooting schedule — Perry famously shoots all of his films in conveyor-belt style, where he places different versions of one another on top of each other — and very low budgets, which heighten the negative intensity. of Perry’s art, at least as it is. into the era of streaming.
This makes his last appearance, Blue Jazzmana stunning continuation of Perry’s ongoing collaboration with Netflix, never has there been such a dramatic tension between substance and style with a Perry image. On the one hand, the film is clearly trying to be a noble production, with a beautiful and unnatural look that feels in consideration of the story being told; Some of the outdoor photography is so subtle it would feel right at home in a Nathanial Dorsky short. On the other hand, the play (which was written in 1995, and may not have been reviewed since) is the usual Perry at heart, although it is spread thin and lacks its usual bite. Although some of the conventions of the drama are clearly bent on the presentation style – this is certainly his most ambitious and “reverential” project yet – the theatrical side of Perry can still shine.
The device has all the fingerprints: you’re told what looks like an unnecessary font design tool – until it’s clear that it’s only serving a lame end you can see coming from a mile away if you’re at all familiar with it. have. Such a story – the film follows the tragic story of the recently-emerged Bayou (Joshua Boone), a poor worker who falls in love with the light-skinned Leanne (Solea Pfeiffer). Due to Leanne’s racial profiling, she is able to marry into a rich, white, deeply racist family (is there any other genre in Perry’s writing?) which sets off a chain of events that completely contrived – perhaps a better comparison to the drama requirements would be Asghar Farhadi, as both rely on their characters to act as improbably as possible to keep things going – somewhat predictable, and, boringly, that which is the ultimate in any Perry movie. Every underdeveloped character (and there are plenty of them here, including the alcoholic father and the junkie older brother; the mother, as usual, is always a Christ-like figure) bends over backwards to ensure that Bayou and Leanne see each other, even when they know it will lead to disaster? I’ll answer your question by raising another one: What do you think honestly?
Occasionally, there’s a perfectly balanced reading that reminds you how funny Perry’s movies can be; Hell, there’s one here where a Jewish guy tries to have fun in the Bayou, which is unintentionally hilarious and almost reminds me of what Perry can be when I forced to compromise. Which he doesn’t really do, since he signed off on all these creative decisions, but there’s something intrinsic about everything here that suggests flexibility; there is very little to suggest that this was a passion project, which may actually be the only reason why this screen was not left to gather dust. Again, everything in Perry’s constructed universe serves a great idea, but is carefully funny – but the way Perry got away with it Blue Jazzman it shows that he is an element that is not even conscious to know where he is good.
You can stream Tyler Perry’s now Blue Jazzman on Netflix.
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