Up From the Streets: New Orleans: The City of Music


The city of music, and a river runs through it.

(2019) Music Documentary (Eagle RockTerrence Blanchard, Wynton Marsalis, Harry Connick Jr., Ivan Neville, Sting, Robert Plant, Arthel Neville, Manny Fresh, Herlin Riley, Ben Jaffe, Jon Cleary, Alan Light, Steve Gadd, Aaron Neville, Dr. John, Cosimo Matassa, Michael White, Earl Palmer, Keith Richards, Allen Toussaint, Branford Marsalis, Irma Thomas, Charmaine Neville. Directed by Michael Murphy

 

New Orleans is a city unique to itself. Alone among cities in the United States, it has influences from France, Spain, Africa, and indigenous natives; all has blended into a flavor that can’t be duplicated elsewhere. New Orleans is well-know for its cuisine, for the beauty of its French Quarter, it’s resilience following the devastation of Hurricane Katrina but perhaps most of all, for its music.

New Orleans musicians had a hand in creating jazz, blues, rock and roll, and hip-hop. The music is infectious in the Crescent City. It is not music to sit down and contemplate your navel to – it is music to get up and shake your booty to. This documentary captures the spirit of the music perhaps better than my words ever could. Michael Murphy has crafted a documentary worthy of its subject, and that’s no easy task.

We get a sense of the history of how music had always been a big part of New Orleans, from slaves drumming in Congo Square, to the gospel of Mahalia Jackson, (whom many believe is the greatest gospel performer who ever lived and yes, she started out here) to the gumbo rock of the Meters, the Neville Brothers, the Radiators and Dr. John to the jazz of Louis Armstrong, Buddy Bolden, the Preservation Hall Jazz Band, Wynton Marsalis, Professor Longhair and Jelly Roll Morton, to the unforgettable rock/R&B stylings of pioneer Fats Domino and Allen Toussaint.

The passion for the music and the love of its residents for the city and each other is more than evident; it makes you want to move down there and be a part of it. You want to get out and dance in the streets with a brass band that just happens to wander by. You want to hang out at Preservation Hall and listen to the music that made New Orleans what it has always been. You’ll even want to share a plate of red beans and rice with some of these men and women who are musical royalty but also incredibly down to earth.

There’s enough material in the subject matter to do a mini-series (somebody please call Ken Burns) and you get a sense that the filmmakers are just touching the surface, but it’s nonetheless a satisfying movie with some wonderful archival footage of legends like Armstrong and Domino, along with more current footage of Mannie Fresh and the Radiators, as well as some performances by local heroes and legends but the amazing thing is the music. It’s the kind of music that was meant for a party, and best of all, we’re all invited. This is an essential documentary for anyone serious about American music.

For those looking to check it out at home, follow this link to order the film through the Enzian’s On Demand program. 50% of the rental fee goes to support the Enzian whose doors are closed currently due to the pandemic. While they have a lot of great films available for your viewing pleasure (eight at any given time), this is the one to order if you can only order one.

REASONS TO SEE: Amazing music. Fascinating historic footage. Captures the unique quality of New Orleans and the fierce devotion of its residents. Extremely informative. Leaves you wanting to explore the music of New Orleans further.
REASONS TO AVOID: The title is a bit unwieldly.
FAMILY VALUES: There is some brief profanity.
TRIVIAL PURSUIT: Blanchard, whose father was an opera fan, will be the first African-American composer to have an opera staged at the Metropolitan Opera in New York later this ear.
CRITICAL MASS: As of 5/17/20: Rotten Tomatoes: 95% positive reviews, Metacritic: 70/100
COMPARISON SHOPPING: Ken Burns’ Jazz
FINAL RATING: 10/10
NEXT:
Dumplin’

Blood and Money


The Great White North (almost).

(2020) Thriller (Screen MediaTom Berenger, Kristen Hager, Paul Ben-Victor, Bates Wilder, Erica McDermott, Mark Sivertsen, Brian Duffy, Melissa McMeekin, Jimmy LeBlanc, Catherine Portu, Gary Tanguay, Ryan Hornchick, Ace Gibson, David J. Curtis, Lisa Lynch. Directed by John Barr

 

We all have actors who we are fans of even as they fly under the radar of everybody else. For me, that’s Tom Berenger, who has been a terrific if underused actor for decades, resonating in films like The Big Chill, Platoon, Major League and Sniper. He’s also been in his share of B-movies, including this indie thriller.

Jim Reed (Berenger) is an ex-marine, living in a dilapidated custom-camper. Once upon a time he had a family, but that all comes to an end when his daughter dies in a drunk driving incident when he was at the wheel. His wife and son were never able to forgive him for that; Hell, he’s never been able to forgive himself for that.

He lives in the North of Maine and its deer hunting season and he’s particularly anxious to bag himself a buck. You see, Jim is vomiting blood and passing out; he knows he’s sick but he’s loathe to do anything about it. He mainly wants to be left alone, coming in to town to load up on supplies and hang out with Debra (Hager), a waitress who reminds him of his late daughter. She’s in a marriage to an alcoholic husband (LeBlanc) and wants to get out.

The talk of the town is a recent violent casino robbery in which five thieves got away with over a million dollars in cash. There’s a manhunt going on for them, but that’s of no mind to Jim, who basically is all about getting back to hunting.

Back out in the wilderness, he thinks he’s bagged his buck but it turns out to be a woman. Jim is absolutely distraught about the situation but when she dies, he flees the scene. He later finds out she as one of the gang that robbed the casino. So, Jim returns to the scene of the shooting and takes the big duffel bag full of money. Of course, it goes without saying that the surviving members of the gang want their ill-gotten gains back.

Berenger will be 71 at the end of the month and while he moves gingerly like a 71-year-old man, he still has the presence he did when he was younger. Berenger plays the silent type as well as anybody, and he gives Jim Reed a world-weary patina that just screams “Get off of my lawn.” He look utterly at home in the snowy wilderness of the north woods of Maine, and the cold temperatures match the cold demeanor of Reed.

Barr, in addition to directing, also co-wrote and shot the film as director of photography, and as a writer he makes a great cinematographer. The snowy vistas are harsh and beautiful, setting the tone for the thriller nicely. However, the plot is pure bargain bin; we’ve seen this movie before and done better, despite the best efforts of Berenger.

All in all, it adds up to a fairly pedestrian thriller that won’t give you any surprises or shocks, but is worth looking into for the beautiful pictures as well as for the performance of the lead.

REASONS TO SEE: Beautiful scenery.
REASONS TO AVOID: Kind of a typical plot.
FAMILY VALUES: There is both violence and profanity.
TRIVIAL PURSUIT: This is Barr’s feature-length debut as a director. He’s been a cinematographer on 20 other projects.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu
CRITICAL MASS: As of 5/17/20: Rotten Tomatoes: 41% positive reviews, Metacritic: 37/100
COMPARISON SHOPPING: Cliffhanger
FINAL RATING: 6/10
NEXT:
Up From the Streets: New Orleans: The City of Music