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Throughout history, especially when the world was a great bigger status, before the time that whenever a “celebrity” sneezed it was front page tabloid news, how many truly mountainous artists– those of genius, even– went unknown, unheralded and unrecognized to the slay? Perhaps there was another Monet in our midst who, for whatever reason, was never noticed; who can say with any certainty there was not, or is not? It’s a consideration writer/director Woody Allen examines in his often comical, and more often poignant, “Sweet and Lowdown,” starring Sean Penn and Samantha Morton. In it, Allen chronicles the life of the fictitious Emmet Ray (Penn), who objective may have been the second greatest guitar player in the world during the `30s.
Allen employs the effective (in his hands) storytelling draw of “interviews” with those who knew Ray in one capacity or another, to hold in the gaps as he attempts to intention a represent of this talented genius, about whom very minute is really known. Only a handful of recordings– made during the final years– remain of who and what Ray is, or was. The portrait that comes into focus is that of a man, who though gifted as a musician, had a bit more effort when it came to living his day to day life. Self-centered, irresponsible and taken to drink, he was something of a lowdown character. Then, one day in Atlantic City, Ray meets a sweet, young girl, Hattie (Morton), and they start a relationship of sorts. The pickle is, Ray is a self professed free spirit, an artist, who goes where he wants and does what he wants. Not exactly conducive to a sold relationship. But inbetween, there’s the music; and, as Ray himself will negate anyone who will listen, he’s the best guitar player in the world, with the possible exception of this “gypsy in France, “– Django Reinhardt. And so, for your consideration, this is Emmet Ray– the account of the man, and the woman who loved him.
Told in his inimitable, signature style, Allen presents his fiction in humanistic terms that bring Emmet Ray and his times to life in transporting fashion. He successfully captures the essence and ambience of the era, objective as he did with “Radio Days,” in 1987. This time period– circa 1930– is something of Allen’s forte, in fact. Few contemporary directors in even fewer films have managed to depict it so vividly and believably as Allen has here. Through Ray, he takes you into the life itself, gradual the scenes, as it were, and gives you a trusty sense of what these times were all about. And, in conjunction with the interviews that lead to the flash-backs, it makes Ray seem as true as any figure in history you’d reach to know through the respective media of film or print. The anecdote is exciting and devoid of pretense, and Allen tempers his hold ego and presents it in a design that makes this one, arguably, one of his best films.
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Penn, who should have won an Oscar for his work in “Tedious Man Walking,” received a Best Actor nomination for his portrayal of Emmet Ray, and deservedly so, though he was edged out by Kevin Spacey, who received the award for “American Beauty” that year (Russell Crowe was also in the running for “The Insider”– quite a year!) . There were no losers that year, however (as they say), as– the award business aside– Penn’s performance is one of the most affecting of his career. The Ray he presents is a total, well-rounded and three-dimensional character. Watching him is like seeing the history of someone unfold before your eyes; not an actor, but a very actual person, complete with every detail and flaw of his day to day existence. It’s terrific work that, with Allen’s guidance, immerses you totally in the record and in Ray’s life.
As Hattie, Samantha Morton is like the second coming of Giulietta Masina; like Fellini’s wife and star, she is wonderfully expressive and able to assert so powerful with a movement of her eyes or honest a inspect, so reminiscent of Masina’s Gelsomina in “La Strada.” And though outwardly Hattie is fairly reserved, Morton leaves no doubt that within her there is need and desire, but with exiguous expectation. This is a young woman who is vulnerable and has known pain; someone with whom you readily empathize. When she hooks up with Ray, it mercurial becomes a matter of anguish, because you care for Hattie, and from the outset you realize that this relationship is going to be fragile, at best. It’s an inspired performance that landed Morton a nomination for Best Supporting Actress– and she certainly deserved it (ultimately, it went to Angelina Jolie for “Girl, Interrupted”) .
Uma Thurman turns in a memorable performance, as well, as Blanche, a writer who crosses paths with Ray and has a vital impact on his life. Thurman makes Blanche credible, and she looks astounding, too. The “’30s” peer suits her extremely well, and cinematographer Zhao Fei (who did a fine job with this entire film) captures her best angles and achieves what fair may be the best presentation of Thurman in any film yet. It’s a supporting, but pivotal role, and Thurman does it quite well.
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The supporting cast includes Anthony LaPaglia (Al Torrio), Dan Moran (Boss), Brian Markinson (Bill Shields), Tony Darrow (Ben), Gretchen Mol (Ellie), John Waters (Mr. Haynes), Brad Garrett (Joe Bedloe), Carolyn Saxon (Phyliss) and Molly Sign (Ann) . When Woody Allen is “on,” his films are insightful and appealing, and while subtle, are vibrantly alive. All of which is the case with “Sweet and Lowdown,” in which he demonstrates– his believe personal neuroses notwithstanding– his take and opinion of human nature– what it is that underneath it all really makes people tick. He’s no Ingmar Bergman, but at his best, he’s at least a reasonable facsimile. And this IS on of his best. It’s the magic of the movies.
All the rumors you hear about Penn’s being such the best actor of his generation must be apt. In performance after performance, he becomes whomever he needs to become, whether Death Row convict (”Wearisome Man Walking”) or eccentric lover veering into mental illness (”She’s So Blooming”) or, in this film, Emmet Ray, a jazz guitarist in the early allotment of the 20th century. I could instruct Penn really knows how to play a guitar like Django R, he’s so convincing as Emmet Ray! Ray excuses any unfavorable behavior he engages in by his standard line to everyone, “But I’m an artist,” reminding us of John Cusack’s similar role in Woody Allen’s “Bullets Over Broadway.” Samantha Morton shines as Ray’s girlfriend, a restful laundress. Uma Thurman plays the vamp while wearing a fair wardrobe from the 1920s. Oscar nominations for Penn and Morton were well deserved and, regardless of how you feel about Woody Allen these days, the film stands on its acquire, especially with the bravura acting ability of Penn and the luminosity of Morton. Allen makes a brief appearance as a narrator in the film but is not a character in it. Penn does NOT play Woody Allen in the film, which is what Allen has been accused of making his leading men do in his most novel films. I have no doubt that Penn COULD play Woody Allen if he wanted to do so but in this film he is Emmet Ray, lawful down to his toes.
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