VIEW THE FILM HERE
First, the Recap:
Private detectives. Dames in distress. Bars, darkened alleyways, and a crime to be solved. All elements making up the world of many a noir-based mystery. Filled with the nuanced music score and often voice-over narration, we get drawn into the shadowy world of intrigue. P.I. Sam Sellers (Ephraim Davis) finds himself at the center of a disappearance case when a request for a favor from barkeep Nicky (Timothy J. Cox) to locate a missing jazz musician, Wynn Dumont (Gyasi Howard), comes about.
Questioning everyone he can, from Dumont’s bandmates, Dean (John Rifici), Dallas (Thomas Schmitt), and Mac (Bruce Clifford), Dumont’s girl Bethany (Elizabeth Alksne), to ex-player Jimmy (David A. Rodriguez), the latter of whom has more than a bad attitude towards Seller’s quarry. Pressing the issue, it becomes apparent that while alcohol, anger, jealousy, and lies have made their play to cloud Seller’s investigation, it ultimately uncover the ugly truth behind Dumont’s vanishing.
Next, my Mind:
This 16-minute short film represents the first effort at a noir-style narrative from writer/director Mike Falconi, and honestly, it’s executed admirably well. Complete with black & white cinematography, an overall urban-style venue, apropos motivational elements for the criminal activity involved, the use of a bar as one of the story’s locales, cigarette smoking, use of old-style wordplay in the dialogue, and a reluctant, flawed hero, the tale is solidly paced and sufficiently builds to the whodunit-resolving climax. Some other classic facets such a nighttime setting, voice-over narration from the protagonist, and labyrinth cityscapes in the rain aren’t present, but this can ultimately be excused and moreso, accepted.
Davis emotes well enough in playing Sellers as a chain-smoking, alcohol-consuming P.I. wrestling with his own inner demons yet determined to get to the bottom of events for the sake of his friend Nicky and the bar’s band, whose “terrible jazz” haunts the stage each night. There were moments in Davis’ dialogue and emotional sequences that were not quite brought about with enough conviction, but it doesn’t distract from the intended impact. Likewise, supporting lead Alksne plays Bethany with adequate sentiment, but there were times where this reviewer still felt like the role was just a little underacted. All the supporting actors fill their roles nicely and fold into the greater plot well.
Regardless of any shortcomings or implied improvements mentioned, “That Terrible Jazz” still stands as a neat slice of indie short film production and one truly hopes more of this highly vaunted style of filmmaking might just find its way back into the screen realm, thanks to independent directors and actors like these.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
