Charles Mingus Movies

Art City, Vol. 2: Simplicity documents the studios and work habits of numerous modern artists including Robert Williams, Joan Snyder, and Richard Tuttle. ~ Perry Seibert, All Movie Guide

The focus of filmmaker Don McGlynn's fourth documentary on a musical figure is arguably one of the greatest composers of the 20th century, Charles Mingus. The mad/genius, poet/musician forever changed American popular music and jazz with his classical influence, devotion to Duke Ellington, and superb musicianship. In bittersweet tributes, fellow musicians, musical scholars, and two wives recount the life of the gentle taskmaster, while performance footage fills most of the screen time. Though his reputation as an unpredictable, rather lost soul proves not totally inaccurate, some explanation is offered for the great mental hardship and physical suffering the artist endured during his brief tenure as a musical giant, all seemingly at the hands of his gift for music. ~ Denise Sullivan, All Movie Guide

Spike Lee's 1990 directing effort is a jazz film, the story of a fictional trumpeter named Bleek Gilliam (Denzel Washington). He leads a quintet at the Beneath the Underground club with a flashy saxophonist named Shadow Henderson (Wesley Snipes). Though Shadow takes a few too many solos, everything seems fine in Bleek's life. Trouble soon arises, however, and he is forced to make decisions regarding both his best friend Giant (Spike Lee), and his relationships with two women. Giant, his manager and old pal, is addicted to gambling and often gets roughed up by thugs looking for pay back. Bleek is the only member of the quintet who wants to keep him as manager. The trumpeter's woman problems concern trying to decide between two girlfriends who both love him: a schoolteacher (Joie Lee) and a singer (Cynda Williams). Spike's father Bill Lee scored the film, with contributions from Branford Marsalis, Terence Blanchard, Abbey Lincoln and Ruben Blades (who plays Giant's bookie). ~ John Bush, All Movie Guide

A group of young, wealthy and well-employed young Berliners finds themselves without deep or intimate relationships, despite constant attempts to initiate them. The problem seems to be an inability to know themselves deeply enough. The main story concerns the frustrations of a young assistant film director who changes careers at the same time he is having difficulties with his relationship with a woman photographer. It seems that his girlfriend is currently infatuated with a male model she has been working with. ~ Clarke Fountain, All Movie Guide

The rise of teen culture in 1950s Britain provides the backdrop for Julien Temple's unconventional rock musical Absolute Beginners. The film centers on Colin, an 18-year-old with a talent for photography and a fondness for the neon nightlife of British jazz clubs. He also is in love with Crepe Suzette, an impulsive, ambitious young beauty who abandons him after attracting the attention of a powerful fashion designer. Depressed and aimless, Colin turns for help to a flashy ad executive (David Bowie) who promises to make him a star photographer. The former lovers take parallel paths to success, capitalizing on the youth mania gripping the nation. The film's nostalgic yet gently satirical look at teen culture is tempered by a recognition of the era's social tension, particularly a disturbing rise in racism. Despite these serious undertones, however, the film tells its story with a colorful vibrancy reminiscent of both MTV and old Hollywood musicals, filled with such show-stopping numbers as a memorable sequence in which Bowie dances on a giant typewriter. Critical reception was mixed, with some hailing the film's spectacular cinematography and ambitious scope, while others found the mixture of tones and style too inconsistent. The film also drew lukewarm response at the box office, with the memorable soundtrack receiving more attention than the film itself. ~ Judd Blaise, All Movie Guide

Charles Mingus, one of the legendary figures in jazz history, performs on this concert film that documents his 1975 appearance at the Montreux Jazz Festival. The set list consists of six songs: "For Harry Carney," "Devil Blues," "Free Cell Block F," "Sue's Changes," "Goodbye Pork Pie Hat," and "Take the 'A' Train." ~ Perry Seibert, All Movie Guide

This revealing documentary of the progressive jazz bassist Charles Mingus follows the musician for several days. The film opens up with Mingus and his young daughter getting evicted from his New York apartment loft for non-payment of rent. The camera follows him to the outskirts of Boston for a jam session at Lenny's, a favorite club of jazz musicians. Mingus is also shown marching in a parade advocating peace. Only 61 minutes long, interviews with Mingus and his live-music sequences will be certain to win new fans of jazz and greatly please those who have already recognized Charles Mingus as one of the great jazz bassists and composers of all time. ~ Dan Pavlides, All Movie Guide

Shadows was John Cassavetes' first directorial effort. Like his later critically acclaimed films Faces and Husbands, Cassavetes fills the screen with probing, unflattering closeups. Unlike his other films, however, Shadows zips along at 87 minutes, avoiding the pitfall of putting the director's nonfans to sleep. The film is a straightforward account of a biracial romance (a far less common film subject in 1960 than today). Light-skinned African-American Lelia Goldoni falls in love with a white man Anthony Ray, who spurns her when he meets the rest of her family. Far from subtle, Shadows benefits from the undisciplined energy of its direction and the excellence of its individual performances. Costing a scant $40,000 (less than the average half hour TV episode of the era), Shadows won the Critic's Award at the Cannes Film Festival and led to more expensive studio assignments for John Cassavetes. ~ Hal Erickson, All Movie Guide