As an African-American film critic and writer, I’m conflicted about Tyler Perry’s work. On the one hand, his plays, films, and tv shows have brought African-Americans into the spotlight in a way that Hollywood struggled to do before. He has amassed an empire over the last two decades that has employed talented Black actors, his studio in Atlanta employs thousands and has positively impacted the emerging film industry there, and he is able to donate to many charitable causes.
The positive impact of Tyler Perry is undeniable, however, it’s time to admit that he isn’t the best storyteller. Even worse, he’s a storyteller whose ego doesn’t allow him to bring in more experienced and talented storytellers to help him with his scripts and ideas.
A Jazzman’s Blues is a movie that can’t decide what story it wants to tell. In fact, I counted three different storylines that, on their own, would have been excellent feature films. Instead, we get all of them crammed into the same film, and the results are less than desirable.
Premise
The story begins in 1937 when soft-spoken and humble Bayou (played by newcomer Joshua Boone) falls in love with the beautiful and innocent Leanne (Solea Pfeiffer). These star-crossed lovers both come from fractured and abusive families and find solace in each other’s company. Their courtship is cut short when Leanne’s mother whisks her away unexpectedly.
When she returns years later, Leanne has married into a prominent family, and like her mother, is living her life identifying as a white woman. Thanks to her mix race, her new husband and his family are none the wiser. When she reunites with Bayou, the fallout threatens to destroy both of their lives forever.
The problem with the basic premise of the film is that there are several premises active all at once. Had the film been about a biracial, white passing woman returning to the Southern town in which everyone knows her truth, and her being in constant danger of her white husband finding out, that could have been a compelling film. I’d argue it’s the most compelling aspect of the film.
Even the storyline of Bayou’s musically inclined family fighting their way out of poverty to reach stardom and dealing with the Cain/Abel style conflict within the family due to Bayou’s emotionally abusive father pitting brothers against each other would have made a great film. However, these storylines, among others, being jammed into one film means none of them reach their full potential. It’s honestly tragic.
Cast & Characters
Joshua Boone and Solea Pfeiffer are relative newcomers and both do a great job in their respective roles. One thing I will say about Tyler Perry is that he has an eye for talent. When he casts newcomers, he picks up and coming talent that usually go on to have successful careers. Boone does a great job of portraying the hopeful and optimistic Bayou. We’re told from the beginning of the movie that Bayou’s story doesn’t have a happy ending. Boone does a great job of making you root for the character even though you know that one way or the other, he’s doomed.
Pfeiffer is a great actress and makes an excellent switch from sweet and naĂŻve Leanne to the selfish and secretive adult she becomes. She isn’t meant to to be the villain of the story, however, her own decisions and putting her desires before reason is what causes the peril many of the characters are in during the later half of the film.
Austin Scott portrays the Cain to Bayou’s Abel, Willie Earl, with a viciousness and vindictiveness that’s so realistic I had to remind myself that he was just acting. The character acts as a nasty foil to Bayou’s hopes and dreams and Scott does so really well. As I mentioned earlier, the part of the movie in which they escape to Chicago to become performers, while also trying to manage their intense hatred for one another, could have been a compelling film by itself.
Amirah Vann portrays Hattie Mae, Willie Earl and Bayou’s mother. Vann brings strength and tenacity to the role as a woman who is desperately trying to keep her family afloat. During the first part of the film, she acts as a protector for Bayou, who is always under attack from his brother and his father, Buster (E. Roger Mitchell).
Ryan Eggold, Lana Young, Milauna Jackson, and the rest of the cast, do a good job in their respective roles as well. I don’t think these are bad actors, however, acting can’t save a terrible script.
Final Thoughts
Back in 2020, Tyler Perry posted a divisive Instagram video in which he bragged about the fact that he writes all of his own scripts for the various films, plays and TV shows he’s currently producing. If these works were well-written and had depth, instead of being populated with the same harmful tropes, stereotypes, and stock characters he has been recycling for the last twenty years, this would indeed be a flex. Instead, it’s an indication that his ego won’t allow him to bring in better writers to help his work reach its highest potential. His work also reflects his reluctance or inability to evolve past the same lazy storytelling he has always utilized.
Maybe not all, but many viewers will walk away from A Jazzman’s Blues wistful of the amazing film it could have been, and disappointed with the convoluted mess it is instead.
A Jazzman’s Blues is currently available to stream on Netflix.
A Jazzman's Blues is a disappointing and convoluted mess
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GVN Rating 5
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User Ratings (14 Votes)
6.9
Writer. Video Essayist. Film/TV Critic. Pop Culture Enthusiast.
When he isn’t writing for Geek Vibes Nation or The Cinema Spot, Tristian can be found typing away at one of the novels or screenplays he’s been working on forever.