Miles Ahead
Go! A bold scat on a jazz genius.
Unconventional portrait of Miles Davis.
Prince’s untimely death on Thursday was a keen reminder of how preciously we treat musical genius. And rightly so – the number of musical innovators feels like it is diminishing at the same time as the number of widely-marketed artists increasing. Is Ariana Grande the next Whitney Houston? Or Justin Beiber, the next Michael Jackson? Or ZAYN, the next Prince?! Of course, the answer is no to all of the above (so you can stop being offended at the very suggestion). Besides the tragedy of their premature deaths, one thing that unites all of these prodigious talents is their high-functioning state: chaos, drama, addiction, obsession, and amongst it all, the spectacular mastery of their art.
Miles Davis (who died in 1991) was one such auteur. He is perhaps less widely known than those mentioned above simply because his genre was jazz and his instrument was the trumpet, but know him or not, his influence clings to the hull of modern music like a belligerent brass barnacle. In Miles Ahead, Don Cheadle (Crash) takes over from Davis as the soloist, centre-stage: he co-wrote, produced, directed and stars in the film, which focuses on the five years in the late-seventies when the musician went silent and disappeared from the public eye, having previously been prolific.
Miles Davis (who died in 1991) was one such auteur. He is perhaps less widely known than those mentioned above simply because his genre was jazz and his instrument was the trumpet, but know him or not, his influence clings to the hull of modern music like a belligerent brass barnacle. In Miles Ahead, Don Cheadle (Crash) takes over from Davis as the soloist, centre-stage: he co-wrote, produced, directed and stars in the film, which focuses on the five years in the late-seventies when the musician went silent and disappeared from the public eye, having previously been prolific.
Rather than a chronologically linear biopic, Cheadle expresses Davis’ character through one imaginary day in his life, interspersed with flashbacks to true events. The fictional story begins as Davis is door-stepped at his home by (fictional) journalist, Dave Brill (Ewan McGregor, Moulin Rouge). The pair embark on up on a capricious escapade that orbits around a session tape he has recorded but refuses to release to his label. Davis hounds his record label for money, scores cocaine and crashes a party at his own house before the tape is stolen. In an effort to retrieve it, Brill and Davis then blow their way around New York in a hullabaloo of gun fights, car chases and fist fights. In between, there are sharp and smooth cuts that catapult us into reality and the recesses of Davis’ memory, covering his early playing days in the 50s, his potent and troubled 60s marriage to (and adultery of) dancer Frances Taylor (Emayatzy Corinealdi, Middle of Nowhere) and his descent from the limelight as he entered the 70s.
Drawing out the “who” and “why” rather than the “what” and “how” is the imperative of any biographical film. While Cheadle’s approach is unusual, it is fantastically successful and tremendously enjoyable. The result is an accessible film in its own right – show it to someone who doesn’t know Davis was a real person, and will still entertain with its gangster-like drama, witty script and jazzy ebbs and flows. At the heart of it all is a rhapsodic performance from Don Cheadle. He nails Davis’ growling, whispery voice; is entirely believable as a trumpeter (having learnt to play the instrument specifically for the film); and has a look and swagger that converges to create a beautifully composed and rhythmic character; equally in-tune, whether in Davis’ periods of clean-cut stability or tumultuous discord. McGregor’s journalist provides an ideal, clumsy foil for Davis’ uncompromising intensity; at times creating the atmosphere of a buddy comedy. Corinealdi equally excels as Davis’ bewitching muse who suffers the harsh consequences of his darker side. And, of course, everything is accompanied by a wonderful jazz soundtrack.
So go. Were it released in December rather than April, Miles Ahead would surely have been reverberating with the buzz of Oscars and Globes. It may still do so in 2017, so get in early. Either way, it’s a super-cool, be-bop view of a huge musical figure. Well done Don.
So go. Were it released in December rather than April, Miles Ahead would surely have been reverberating with the buzz of Oscars and Globes. It may still do so in 2017, so get in early. Either way, it’s a super-cool, be-bop view of a huge musical figure. Well done Don.
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