Reeling Backward: Round Midnight (1986)

Matthew Socey says the new Criterion Collection release of the seminal drama set against a rich jazz backdrop is well worth dropping some coins into the hat.

"When you have to explore every night, even the most beautiful things that you find can be the most painful." - Ace (Bobby Hutcherson)

This line reflects not only what jazz saxophonist Dale Turner (Dexter Gordon) does on stage in every performance, but anyone who crosses Turner's path offstage. Ace says this to Francis (Francois Cluzet), a man who has graduated from being a superfan of Turner's to his close friend, handler and roommate.

The 1986 drama "Round Midnight" is not only one of the best films about jazz, but one of the best films about music. The film has now been given the Criterion treatment on home video (thank god) and while I'd like more special features and a commentary track, you take what you can get.

The multiplexes have been plagued by the standard music biopic. Even after being roasted and roasted well by the underrated comedy "Walk Hard," this cinematic comfort food is still getting churned out like...popular music on the radio/streaming services.

If the multiplex crowd can watch "Rocketman" and "Bohemian Rhapsody" multiple times and even just have it on in the background while puttering around the house, "Round Midnight" is a cinematic version of sitting down, shutting up and just paying attention to the music. Roger Ebert called "Round Midnight" a film that "creeps inside you and stays there."

Dale Turner (Gordon) is an American jazz musician living in Paris in the late 1950s. In brief flashbacks, we learn of Turner's troubles in the Army as well as just being an African-American in the 20th century. Gordon in real life lived overseas for 14 years in Paris and Copenhagen. Many African-American musicians (jazz or otherwise) lived overseas for better gigs, better money and less hassle on the streets. Jazz giants like Bud Powell, Ben Webster, Bobby Hutcherson, and even Indiana Avenue's own Freddie Hubbard spent time in Europe.

However, "Round Midnight" is not "The Dexter Gordon Story," although Gordon's own life moments would assist in his creation of this character. In the opening credits of the film, the tale is "Inspired by incidents of the lives of Francis Paudras and Bud Powell."

Turner holds a residency at a small club in Paris called The Blue Note. The audiences are always packed and receptive. He lives in a small apartment in the same building with other imported jazz musicians. Down the hall from Turner is Ace (Hutcherson), always in a swanky silk robe, cooking.

While working at The Blue Note, Turner cannot get a drink from the bar, even when the gig is over. When a (usually) young fan approaches Dale, the first thing Turner will ask is money for a drink or a drink. You have to keep an eye on Dale in between sets. There are bars across the street. The musician's apartments are looked over by Buttercup (Sandra Reaves-Phillips), who has also been know to lock Turner in his room overnight. Alcohol and drugs are also at times Turner's other sidemen.

One of Turner's biggest fans is a single father and struggling advertising artist Francis (Cluzet), who is introduced eavesdropping on Dale's performance. In the pouring rain, Francis can hear the music through a service door for the basement club.   

One night after a show, Francis finally approaches Dale to tell him how his music changed his life. Dale asks Francis if he could buy him a beer, which becomes two. Francis is separated from his wife and a father to young Berangere (Gabrielle Haker), who waits for her father to return home from "buying cigarettes."

As the film goes on, Francis graduates from being just a fan of Turner to a friend. Following Turner into another club, Dale tells the man working the front door "This is my friend. He's with me" without Francis having to pay admission. Francis will be come part of The In-Crowd, but it will be more work then he anticipated. For every holiday party for the American musicians, there's Francis running to a hospital or police station. 

Director and co-writer Bertrand Tavernier gives us some real locations in Paris and later New York City, but the majority of the action takes place in an obvious and beautifully constructed version of cinematic Paris. Where the side streets are filled with jazz clubs, cafes and bakeries mostly at night. Musicians leaving their job as a baker begins his.

The camera loves the set of The Blue Note and kudos to the set designer who making a music venue that looks like it hasn't aged in decades. The camera slowly moving down past patrons gently bopping their heads to the music. You can hear Gordon/Turner's breath through the saxophone while playing. The first full song performed in the film is a version of "As Time Goes By." "Round Midnight" has the second greatest use of that song in cinema history.

I've always thought jazz and blues music at night (especially in a large city) brings out a sense of romance and nostalgia. Of dressing up, going to a club just for the purpose of listening to music. Not to try and talk over it. Not to yell requests. Not to raise a plastic Solo cup and yell "WHOOOOO!"

(Sits on front porch)

Some background on Dexter Gordon. Born in 1923, Gordon started playing the saxophone at age 15. Two years later, he would be a member of Lionel Hampton's Band. After stints with Fletcher Henderson, Louis Armstrong, Billy Eckstine and recording for Dizzy Gillespie, he started recording as a band leader in  1945 and become one of the biggest names in the bebop era of the 1940s. By the next decade Gordon had substance and legal problems and spent two years in jail. Upon his release, he went back to performing and recording, signing with Blue Note in 1961. A year later, Gordon moved to Paris. His return to New York City in 1976 would turn out better than Dale Turner's. His recordings and performances would slow down in the 1980s. Gordon died in 1990.

(Leaves front porch)

Gordon received a much-deserved Academy Award nomination Best Actor for this performance, where he played Turner as a tortured artist without playing The Cinematic Tortured Artist. We don't see Dale's lowest points, only the aftermath. The film glides from the beauty of Turner performing onstage to Francis bailing him out of jail or released from the hospital. In one scene, Francis overhears Dale telling a hospital psychiatrist "My life is music, my love is music. It's 24 hours a day." Once in a cab, Francis tells Dale that he was listening in on his conversation. "You were? Was I Good?" Dale asked. Both laugh. Dale appreciates Francis' honesty, even when adding water to his wine at dinner.

With a raspy voice (due in part to Emphysema), suspenders holding up his belly, large glasses and slow moment, Dale Turner and Dexter Gordon have seen more than their share of life without having to say it or or show it. Dale sits when he plays his saxophone, much to the dismay of one of the club employees. A co-worker responds "he can play on his back, for all I care" meaning the music is still there and still strong. Like the music the actor and character play, "Round Midnight" is about the music and actor's notes you don't hear.

Francis and Dale are not perfect men and that becomes their bond. Francis sneaks out of his small apartment when his daughter is asleep to listen to Dale perform. He tells his wife (they're separated) that Turner's music inspires him more than anything (her reaction is heart-breaking). He wants Dale to return to composing and recording. It's Francis and Berangere that help inspire Dale to finally return to New York for a series of concerts, organized by a slick-talking promoter (Martin Scorsese) and a chance to reunite with his teenage daughter who Dale has written a song, dedicated to her. Dale's old drug dealer also knows of Dale's return.

The soundtrack to the film was composed, arranged and conducted by Herbie Hancock aka my introduction to jazz. Hancock won a well-deserved Academy Award for the film's score and he also plays Dale's pianist. The film is peppered with jazz heavy hitters like Ron Carter, Freddie Hubbard, Wayne Shorter, Tony Williams and John McLaughlin. Lonette McKee (the original "Sparkle," "The Cotton Club") provides some beautiful vocals as Darcey, Dale's old flame. There was a second soundtrack of the film ("The Other Side of Round Midnight") which would be Gordon's final recordings as a band leader.

After "Round Midnight," Dexter Gordon's only other film appearance of note was a blink-and-you'll-miss-him cameo as Rolando (aka the man at the piano) in Penny Marshall's 1990 film "Awakenings." Released eight months after Gordon's death. Many musicians receiving such critical acclaim have made the career shift to focus more on movies (you can name your favorite musician as an example here). Not Gordon.

I dislike the term "One-Hit Wonder.". Many music artists have had full and fruitful careers without having to frequently appear in The Gospel According to Billboard. For instance, Bobby McFerrin, who also appears on this film's soundtrack vocalizing the title track (which won him a Grammy for Best Jazz Vocal Performance, Male), two years before "Don't Worry, Be Happy." Some of the best songs and artists don't get played on the radio 15 times a day and not all the best films get a 4,000 screen release.

I am grateful for the music of Dexter Gordon, who was one of the first jazz musicians I discovered in my teen years. The film "Round Midnight" was a powerful and intimate jazz club of a film in a loud world of arenas and stadiums. Over 35 years later, some things have not changed.

Matthew Socey is host of the podcast Film Soceyology on wfyi.org.