Indie Film Review “The Jazz Club” It’s a story of love, imperfections, striving to connect, knowing what we want, and life’s melodies that guide us
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First, the Recap:
Agendas. We’ve all got them, admit it. While it may remain true that we ultimately desire to conduct ourselves and the interactions with those most cherished to us with selfless aims, we must be aware of just precisely what it is we are trying to accomplish at times, while also hoping that what we have in mind just might line up with the other person’s ideas as well. However, what occurs when the expectations two people have turn out to be totally different?
With the soothing sounds of classic jazz wafting through the air in the background, club owner Jimmy (Cayman Cardiff) and his girlfriend Sarah (Marie Elizabeth DeWitt) sit quietly at a candlelit table on their approaching one-year anniversary. A cause for joy one would believe, the pensive look on her face that defies the calmly happy countenance he shows spells the beginning of an extended conversation about just what their future may, or may not, hold.
Next, my Mind:
It began with a beautiful but deadly femme fatale and the price of crossing her via “The Twisted Doll“. There was a foray into the surrealistic, existential vastness of eternity and who we are when Death comes calling that was “The Bestowal“. The wonder of a holiday legend gets a heartening, touching, animated redo with real history as its backdrop in “The Legend of Santa Claus“. Retribution in high heels and a little black dress made her return with ominous intent thanks to “The Tortured Soul“. Seduction takes on a more insidious form, infusing vengeance with the supernatural in a rawly menacing manner through “The Seductress From Hell“. A re-visiting to The North Pole and its primary, beloved denizen once more takes on animated form and delivers a story both inspirational and heartbreaking in “The Magic of Santa Claus“. Back into the fire, a horror-based but surprisingly comedic venture that sees a whole new take on being a disgruntled employee…especially when your boss is, literally, the Devil himself in “The Demoness“.
Yes, I very intentionally wanted to spell all of that out first. Why? Because, suffice it to say, writer/director/producer Andrew de Burgh has covered some ground genre-wise, bringing his own unique taste and touch to each and every film he comes out with, short or feature length. Hence, when it now comes around to de Burgh’s newest 92-minute feature film effort, collaborating with writers Cayman Cardiff and Marie Elizabeth DeWitt, co-producer Nicholas de Burgh Sidley, plus executive producers Raksha Colaco and Ian Corbyn in the process, the genre-jumping (and perhaps risk-taking??) continues with a fully understated, dialogue-driven, single-setting, romantic drama-centric foundation that features a tribute to a classic music style, a subtle but present “of all the gin joints…” ode, and a deeply nuanced and truthful exploration of the dynamics we confront when it comes to relationships and our own ideas of how things should be.
Centered on a confident but still grounded club owner and his career-minded ad executive girlfriend on a specific night that is supposed to have immediate celebratory implications but ends up diverging into something other than, the narrative here is wholly, purposefully, intensely, and conclusively focused on these two individuals, with the ensuing conversation they embark upon that will define them both separately and as a couple, the ramifications reverberating through your mind with an equal amount of contemplative and heartfelt resonance. Now, I will freely state that some viewers MIGHT be tempted to dismiss this as nothing more than a slow-burn “talking heads” journey, dare I say boring even. Folks, PLEASE do NOT do this. This critic absolutely understands that everyone has their own preferences, etc, etc. There would have been a time where I would have SAID precisely those thoughts in relation to this film. Well, I’ve changed.
There’s a depth of intelligence, well-conceived, deftly executed humanness to this film’s narrative that truly does warrant giving it the chance to BE what it is. This speaks SO adeptly to the very nature of relationships, here in the romantic context, but that could really apply on a grander scale to ANY form of association with someone else. Sustainability and trajectory, reality vs. fantasy, whether that “spark” actually spells lifelong commitment, are we willing to compromise, coming through “the honeymoon phase” to understand how we really feel, the hesitations about genuine compatibility, insecurities, fears, defensiveness, ambitions, the walls we put, is it the right timing, upbringings clashing (or perceived as such), how we think we know someone but maybe really haven’t taken the time yet, can differences actually bring us closer, how our own flaws can get in the way, and the ultimate desire to WANT to BE there for someone all get exhibited and examined here.
Really, that only scratches the surface when placed within the greater scope of a decidedly two-way, then it feels one-way, then back to two-way conversation about what lies ahead that these two characters experience, and again, it’s conveyed with a magnitude of emotional volatility that simmers with passion and fire yet doesn’t overtly boil over or turn demonstrative. Instead it IS the aforementioned slow-burn approach that works in the narrative’s favor thematically, allowing every little twist and turn in the couple’s messaging to come out with impactful influence and persuasiveness. You can see the story from BOTH sides, agree and disagree with what is communicated, and as so often occurs within the independent film world, easily discover the credibility and relatability of it all as applied to our own life’s path. That’s what I am trying to explain here. You have to give this film a chance to SPEAK its messages through the characters we’re given.
The finale is actually quite affecting, and it isn’t an overstatement to claim that the film as whole does a great job of not completely allowing you to know with certainty which way events are going to end. I think this is an effective means to maintain your attention and really aim to absorb all that’s being said. The film’s visual look is excellent, the camera completely immersing us in the dimly lit, unmistakably alluring ambiance of a well-organized and run jazz club while also so tightly centering on the two primary people for the majority of the runtime, giving each their “spotlight” moments aplenty, but then pulling back to embrace them both as well. The random but very well-placed instances where the imagery showcases other placed within the club just fits so distinctly well. And, of course, the jazz music itself is fantastic. If you pay attention, the songs even reflect the very ebb and flow of the main couple’s conversations with perfection. Clever.
For the rugged leading man looks that Cardiff possesses, I firmly believe what actually makes the actor a superb choice here is how he is able to utilize this to his advantage, yet not do so when pretentiousness or vanity, but rather a controlled confidence paired with credibly authentic heart and soul through his role as Jimmy. A man with drive yet also a willingness to just sit back and want to chill out enjoying what life has brought, his night with Sarah is what he has most anticipation for when it comes to what he believes is their relationship heading to the next level. Yet, once they begin talking, things take a totally different direction that he expects, soon finding himself on the defensive and fighting tooth and nail for what he knows he wants, truly in the best ways. Cardiff’s energy is a tangible force here, but again, he maintains the ever-fluctuating emotional quotient being delivered with steadfast ease and purpose throughout. Loved this performance.
I love being able to say that I more than felt similarly when it comes to DeWitt’s performance as well, for the actress assuredly brings ethereal beauty to the table (here literally and figuratively), but like Cardiff, does not remotely “wave it about” as if eye candy is all she is or that viewers should even perceive her as such. FAR from it, DeWitt yes exudes a vulnerability that’s necessary and valid, but that’s tempered by resolute, fiery, and strongly independent-mindedness that deftly befits the role of Sarah. An ad executive on the cusp of hard-fought greatness and evolution of career, the trepidations and other facets she offers about the couple’s relationship jars Jimmy to the core, spurring on the even deeper scrutiny of all the earlier factors listed above and then some. It feels both stirringly heart-wrenching and undeniably convincing, with DeWitt’s acute delivery, facial expressions, and muted but oh-so-present fervency AND warmth shining through in spades.
Additional supporting appearances are made by Leah Anne, Elizabeth Rossi, Laura Falcon, Ernesto Lazo, Sandrine Derycz, Beth Megarit, and Aleena Averly. So, in total, “The Jazz Club” is another definitive winner for de Burgh, his intent, his fearlessness, his ability to keep expanding his filmmaking pallet with utter passion so as to exemplify indie cinema’s commitment to provide stories that carry weight and meaning, that we might all take lessons from it, and apply them accordingly. Here, it is love deeply, talk it out, work together, be honest, learn to trust more, take a leap, and just simply listen, even as the music of our hearts as well as of that of this journey we call the human condition waft through that dimly lit but engagingly compelling atmosphere we sometimes find ourselves in, without always knowing what the outcome will be, but either way knowing it WILL be for the best.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
