本部电影是描写黑人音乐家的故事,通篇几乎都是黑人,白人几乎没有参与。而且导演也是黑人,黑人拍黑人演,还有最著名的黑人演员丹泽尔·华盛顿,全世界的不分肤色的人们都会看。让我想起了Beyond的经典曲目《光辉岁月》,“可否不分肤色的界限,愿这土地里不分你我高低。”“缤纷色彩闪出的美丽,是因它没有分开每种色彩。”
对爵士乐不是很了解,是专属黑人音乐吗?不能这么说,音乐不应该分种族肤色,音乐是相通的。大概爵士乐玩得最好的多是黑人吧,就像NBA篮球明星大多是黑人一样。
向每一位真正的音乐人致敬。
In Spike Lee’s film piece “Mo’ Better Blues” about a Jazz musician’s personal life story as well as according struggles on finding balances between his own love life and his musical ambition/career, various violent filming scenes are being involved towards the near-end of the specific movie, and at the somewhat comforting ending of the piece, Indigo agrees to take Bleek back into her life, which is apparently perceived by many as both a heart-warming yet controversial decision made by the character herself. However, it needs to be understood that the actual motive behind Indigo’s seemingly quick/blunt choice would be something way more than simply out of sympathy/empathy or pity for Bleek, but rather instead, should be perceived/considered to be about an individual’s own willingness and open-mindedness of offering/granting second chances to another human being (especially their loved ones) in this oftentimes overly complicated world, and ultimately, tying back to the main topic, about “A Love Supreme”.
Instead of discussing/talking about/dwelling with the specific topic of whether Indigo should take Bleek back into her very own life or allow him in there once again, let’s go on to switch gears and reverse the actual question altogether, and instead try to focus on the different aspects/obstacles being shown and presented there which would actually prevent Indigo from making up her mind to finally choose to come down with the particular decision of forgiving Bleek’s past and previous mistakes and thus ultimately re-accepting as well as re-connecting with him. In the film, there is a particular scene which shows Bleek admitting himself as being overly selfish/self-centered as a person all along in life, no matter if it is with him dealing with his own lovelife/romantic relationships, or, with him putting his own absolute very hardest efforts into promoting his musical occupation as a whole there. Being fully aware of this specific personality side coming from Bleek himself, Indigo has the total right with her to choose to completely cut off/bring an end to this specific toxic relationship right on the spot, especially also with her recently just finding out/discovering the fact that Bleek has been constantly visiting/dating another woman (being Clarke) on and off and has been wearing different “masks” in order to live a satisfying double life. As the specific action of “cheating” itself is indeed usually being considered a big deal in terms of romantic relationships and would oftentimes severely sabotage/damage the general quality of the relationship itself, alongside with actual results in heavy diminishments of the overall self-esteem and personal sense of dignity level (mental wise) on the counterpart, it would be quite easy to relate to as well as understand all those anger which Indigo may have well felt, since Bleek has already clearly/obviously crossed the line and broke the golden fairness rule as well as the valuable presence of mutual trust. So if all that is so, why would Indigo still want to allow such a grown-up man who apparently hurt her so much as for previously before in the past back again into her very own life? And not only did she actually forgive and re-accepted him, they even went on to further marry each other, formed/founded a whole family together with each other that way, and she then eventually gave birth to his child, ortheirkid. It would be totally impossible to realize and understand the actual mental dynamics behind Indigo’s ultimate decision of letting Bleek back, without delving into the interconnected relationship between the apparent situation of Bleek’s Jazz musician career and his own goals/ambitions which he would set for himself, and how these aspects would without a question or doubt hugely/strongly affect not only Bleek personally, but also almost everyone else around him in one way or another that way, especially Indigo, who appears to be inside Bleek’s closest relationship circle, and is probably also among/on the list of one of the most important people who has ever came across his path or ever existed in his life that way, or as what Bleek would claim to be.
Indigo clearly realizes and recognizes Bleek’s apparent struggles with elevating his own musical achievements to something greater and more marvelous as compared with previously before, as she is not only clearly aware of exactly how extra super important Jazz music as an art form is to Bleek, which can be seen in the specific scene where Bleek proudly says out loud something like “Jazz is my top priority in life, everything else would be considered secondary”, but also does she recognize and understand that, as Jazz being such an important uplifting support as well as playing such a hugely important role in Bleek’s life, and not only as a simple financial tool in order to pay off money, but more importantly, being used as an considerable/thoughtful/artful way of both mental as well as spiritual healing/curing/medicinal escape/expression/relief process. It would thus become rather obvious and clear to be able to see from there, that music, or more specifically, Bleek’s general Jazz music performances being presented as a certain way of living/lifestyle, certainly cannot be easily replaced by any random stuff out there, not even by something called love, because it would simply just be considered and perceived to be irreplaceable like that by all terms or means, at least in Bleek’s own personal perspective/mindset there, so to speak. So what if that sort of almost life-savior/drug-dose like mental/spiritual dopamine/heroin/marijuana would be completely cut off its actual supply accesses being available to him previously all the time there, all of a sudden that way out of nowhere by some uncontrollable outside forces, like what is basically been going on as well as being presented and shown in the latter half of the film itself? As the audiences could tell, due to the happening of the unexpected violent dispute between Bleek’s childhood friend (who apparently is also his own manager), Giant, and the Mafia thugs, and due to Bleek himself voluntarily emerging/stepping into the situation in order to save and help his long-time companion/friend there, the actual result is that Bleek’s own lips has been beaten by those mafia thugs to be busted open, which plastic surgery cannot even fix up, and that ultimately caused Bleek to give up/forfeit his Jazz dream which he has almost always been so desperately trying to make true/make reality of. It is indeed a tragic part of the whole entire plot, no question about that, but what would be considered and perceived to be most important after all, would be what actually follows up and comes after.
As Bleek happens to lose his ultimate spiritual/financial/mental support in life that way, as well as when his hopes, wishes, and expectations for future musical elevations which he insists to carry along with him altogether fades out of sight in a blink of an eye’s moment due to the happening and taking place of that specific incident, it is then being revealed to us that Indigo has not fully abandoned him yet, and is still somewhat caring for him and his general life situation. That is because, being a mature grown up woman as well as a city girl living in the Big Apple herself, Indigo is indeed aware of the fact that the real life/real world is a place that is oftentimes being filled with unspeakable hardships and unimaginary cruelties, and when out-of-control accidents like that happen (or one could also argue that in another sense, things like that could also be perceived and seen as being already prearranged and predetermined, mysteriously somehow, and is something which could surely be identified as being purely fate or destiny all on its own in that context), the ultimate one and only most powerful solution as well as most effective cure for that, after all, would indeed mostly likely come down to that particular simple four-letter word/term, the everlastingly eternal theme of the whole entire human existence which is being constantly brought up and glorified throughout the span of history and since the creation of time itself - “love’, and in this specific case, “true love” or “A Love Supreme”.
音乐动听,色调迷人,氛围浪漫,情感丰富。斯派克李的爵士情愫,欢乐又忧伤~
5.0 住紐約的時候就住在這棟老房子裡,Willy每天都坐在閣樓上聽我們叨逼叨逼的嘮個沒完。於是在看這部電影的時候就一直一直反覆看到屋子裡好多地方....那種帶入感太強了....受不了,瘋了!!!!!!!
old harlem blues
以15分钟的开场看,之后的发展并没达到预期的高度,表演和音乐ok,感情线处理俗了。爵士小号手没成为传奇,回归普通人幸福家庭的宿命。头尾高开,中间低走,略以为憾。
故事老套,但是音乐极棒。斯派克火力全开,用各种奇妙的镜头、强烈的色彩真正拍出了带有爵士味道的画面,相当迷人。John Coltrane、Chet Baker、Miles Davis,向大师致敬。 现在来看这片子的阵容也相当厉害,丹泽尔·华盛顿和斯派克·李自己就不说了,还有年轻的塞缪尔·杰克逊和炸鸡叔,还挺惊喜的。
表面上是音乐题材,实际上还是斯派克李最喜欢发挥的有关布鲁克林社区黑人兄弟之间拌嘴碎碎念的类型影片。局部男女之情地方稍显拖沓,以及各种分场话题比较多,不一定所有观众都爱看,imdb 此刻也就6.1分(满分10)。个人评: 3.7星。
斯派克李的黑人爵士乐电影,剧情有点儿俗,无非就是分分合合,谈谈姑娘,顺便搞音乐,毕竟只是讲乐队的片子嘛。可以给音乐加分。而且除了他自己父亲本人的音乐家身份让故事有了点家庭传记意思,李自己演男二,女主还是他亲妹妹,特写镜头下两张脸简直一模一样,确实有点难受啊。。。
故事真是淡和俗套,但爵士之奴有太多理由看这部电影。把爵士乐的风流、潦倒;专注、忠诚;迷幻、即兴都表现得淋漓尽致。色彩灯光有登峰造极之嫌,表现丹泽尔沉浸创作的室内360度环绕一镜现在看起来还是惊愕。以及爱乐之城里对jazz现场的拍法完全出自这里,丹泽尔华盛顿黑塞颜值巅峰。最吓人的是,直接开启了jazzhiphop流派
人在什么时候才能学会真正的爱?片子给出的答案是:人被逼到放弃了自由,才华,只剩下机会去爱的时候。命运不像爵士乐,用力用心,就能奏出心中的自由和浪漫。
剧情俗套,色调迷人,音乐动听,尤其是对即兴爵士现场的捕捉堪称教科书级别,同时开创了jazzhiphop这个跨界音乐细分门类,更镌刻了丹泽尔·华盛顿正值巅峰的颜值与身材。
1.黑人导演斯派克·李拍的爵士乐手传记片,还是很值得一看。2.影片重点刻画的是爵士乐手的纠葛,而不是展现爵士乐的魅力。3.影片的配乐是导演的父亲操刀的。4.片中各种向John Coltrane致敬啊,包括这个片名,还有各种海报和唱片。5.第一次看斯派克·李演戏,真看不出这小个子是最牛的黑人导演之一。
音乐真好听,布勒克对音乐的爱自始至终影响着他自己,还有前后呼应的结尾。斯派克.李营造出了黑人爵士乐的氛围,用橙、蓝色调来表现其中的喜怒无常。
斯派克·李对于爵士乐的自我诠释。80,90年代关于爵士乐的影片不少:米洛斯·福尔曼的《爵士年代》;伊斯特伍德的《爵士乐手》;鲍勃·福斯的《爵士春秋》等都对爵士乐和它所处的时代进行了描摹。这些导演都或多或少呈现出了爵士时代的某个侧面和它的情绪,但却不尽相同。李从自身黑人身份的内在角度更加准确的审视了这一时期爵士乐手的生存状态。 三星半
7.9/10 纯粹的纽约电影,在布鲁克林桥注视下的一曲爵士乐,节奏上从未从这种慵懒和情调上脱轨,而是不断延绵。斯派克李的用光与色彩绝妙,音乐与情感以嘴唇为临界点展开去,萦绕着色而不淫的气息。斯派克李自己的出演毫无违和感。
音乐确实好,为OST加一星
斯派克李拍黑人故事真是挺有意思,除开和《为所应为》一样的白描,视觉上把力量和灵巧,这两个所谓种族天赋的元素结合得更棒,风格化拉满,有很多奇观的空间,轻快的zooming,跳脱的配色,时髦的服装,爵士乐铺得满满当当,90年代的银幕新乡看上去像蒙了一层金色的雾,永远停留在初夏或者黄昏,一切都很氤氲蒸腾,同时也具有体积感。主要阵容够强的
有点家自传味道。360度推轨哈哈,配乐真棒啊,但对爵士乐史了解太过有限。spike好可爱,黑人英语真可爱。事业走不通了突然“觉悟”去寻求爱情和家庭拯救,然后把热爱灌输给小孩,三观如此之正哈哈哈哈哈哈
感觉表演有时非常即兴啊,斯派克·李真是黑人探照灯,把Chet Baker的经历套到了这部片子的丹泽尔·华盛顿身上;狂黑犹太人;“我要为我的葬礼伴奏”;看到最后那段引用只想起《My Favorite Things》
命运轮了一个圈,你以为这是多么光辉灿烂自然而然的子承父业,其实背后是言不尽的心酸。一首首爵士乐串起纽约城黑人小艺术团体的爱恨纠葛与颠沛流离,繁华落尽最终依然只能凭靠黑人的自助与互助,是不是爵士乐以及是不是基于某个名人而拍的传记片已不再重要。早期斯派克·李的电影真是部部珍品,慢慢看下来,你便会一步步确信最好的种族主义电影只能出自这样的导演。
故事真的不重要。导演就是在玩形式,剪辑和叙事是节奏、镜头、音乐和色彩是音符,谱出来一首关于爵士时代切片和缩影的乐曲。中间那个360度环绕镜头妙。全片最痛的点不是Bleek受伤后上台那次,而是结尾放儿子去玩那一次,带着一点点重写自己个人历史的“幻想”,意味微妙。