Set in rural Georgia in 1940, Jazzman starts as a teen romance between family black sheep Bayou (Joshua Boone) and Leanne (Solea Pfeiffer), who is sent away to live up north after Bayou proposes marriage. Jazzman isn’t just good for a Tyler Perry movie. If there’s anything to lament, it’s Perry’s decision to drop the film on Netflix instead of challenging the current box office’s weak crop. (Brad Benedict, a supporting actor in the BET White House drama The Oval, was one notable exception.) Rather, this is a story that takes its time building characters and conflict over the course of two-plus hours before winding down with a wallop. Gone are the overbearing religious themes, the risible wigs and the familiar rotation of company players burning through tens of pages of a day in single takes. Here at last is that feature, A Jazzman’s Blues, which couldn’t be more unrecognizable as a Tyler Perry production. But I knew what I was building I had to focus on … so that I could build all these other things to stand on.” “I wrote a script in 1995 about a Holocaust survivor and a jazz singer. “I would love to go do a movie that’s as powerful as Schindler’s List,” he told an audience at a Goldman Sachs conference four years ago. But when Perry, who got the last laugh by naming a sound stage after the She’s Gotta Have It director, took risks, the audiences for films like For Colored Girls weren’t nearly as robust as they were for the Madea franchise. Spike Lee would set the critical tone against Perry a decade ago, blasting his work as “coonery” and “buffoonery”.
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