'Round Midnight: A Review

'ROUND MIDNIGHT

Like the best of jazz, 'Round Midnight feels improvised while being perfectly planned. Smooth albeit long, 'Round Midnight is a film for those who love jazz and the brilliant but troubled figures behind it. 

In 1959, jazz tenor saxophonist Dale Turner (Dexter Gordon) is down on his luck personally and professionally. Addicted to alcohol and drugs, Dale decides that he needs a new start in new surroundings. With that, Dale goes to Paris to play an exclusive engagement at Le Blue Note. Surrounded by a group of talented admirers such as pianist Eddie (Herbie Hancock, who wrote and adapted the score), Dale is put on a strict watch by those around him. With food made by fellow expatriate Ace (Bobby Hutcherson) and watched over by Buttercup (Sandra Reaves-Phillips), Dale continuously searches for a nice cup of red wine.

French jazz fan Francis (Francois Cluzet) cannot afford entry to Le Blue Note, forced to listen to the music he adores through the vents outside. Francis, a single father raising his young daughter Berangere (Gabrielle Hacker), loves but despairs for Dale. He sees the talent that everyone, even Dale, sees. He also sees the self-destructive manner that wrecks him. Francis takes it upon himself to watch over Dale. Under Francis' care, Dale begins to find peace and life. He eventually decides to return to New York to reestablish himself and mend fences with his daughter. Francis joins him on the initial return, where things appear to be looking up for Dale's comeback. Will Dale have the strength to create new works, or will the old ways work themselves back into his life?

Jazz music can be fast or slow, energetic or meditative, intimate or universal. 'Round Midnight is closer to a slow, meditative piece on the genre and its creators. That might be an issue with some viewers. At a little over two hours, 'Round Midnight might at times feel like a bit of a slog, especially when we wander away from Dale to go into Francis' struggles with his ex-wife or raising his daughter. Even other elements, such as Dale's return to the recording studio or when he is greeted in New York by music impresario Goodley (Martin Scorsese in a cameo role), I got the sense that 'Round Midnight was meandering a bit.

However, I should remember that jazz is built in part of improvisation. As such, 'Round Midnight might be closer to a filmed version of jazz than a more straightforward narrative. 

'Round Midnight has a surprisingly good acting turn from Dexter Gordon. Gordon was not an actor but a well-regarded and respected tenor sax player. Here though, he rightly earned a Best Actor nomination for his performance as Dale Turner. Gordon has some wonderful bits of monologue skillfully delivered. In one, he speaks about how he dreams of jazz. In another, he recalls his time in the army, where he faced racist abuse but also found his journey to bebop music. 

At one point, he tells "Lady Francis" not to cry for him. "Don't cry for me, ever again," he calmly tells Francis. It is the saying of a man resigned to whatever Fate brings him, for good or ill. 

As a side note, Dale has a habit of nicknaming every man that he likes as a friend as "Lady". 

While 'Round Midnight wanders off whenever his character is on-screen, it is not a slam on Cluzet's performance as Francis. He handles his scenes well as the great fan of jazz in general and Dale Turner in particular. He makes is highly believable that Francis, a struggling graphic designer, would devote himself to attempting to rescue a man he deeply admires. 

In their smaller roles, Reaves-Phillips' Buttercup is a strong woman, able to stand up to Dale while still caring for him. She has her own musical moment at Dale's farewell party, where she sings a slightly risqué number to great effect and delight. Her scene may be smaller, but Lonette McKee's Darcey Leigh, a chanteuse and protege of Dale's, sparkles when she is on screen. 

If one appreciates 'Round Midnight, it is because of its music. Herbie Hancock won Best Original Score for his work on the film, and the music both original and covers like As Time Goes By are well-constructed, drawing the viewer in like Francis was drawn to Dale. 

If 'Round Midnight has a flaw that pushes it down for me, it is its length. I suspect those who do not like jazz may find that two-hour-plus runtime a bit taxing. Despite the runtime, Dale's end seems a bit abrupt. However, while those are negatives, they do not take away from how effective 'Round Midnight is as a love letter to jazz music and those who love it.  

DECISION: B-