What a year 2016 is shaping up to be for classic jazz trumpeters. In the coming weeks, Don Cheadle will premiere his directorial debut Miles Ahead, a take on the legendary Miles Davis. And, in a sense, Ethan Hawke will compete with his Brooklyn’s Finest co-star with a music biopic of his own. Born to be Blue, the story of Chet Baker, releases exactly one week prior.
I had the pleasure of watching both films during back to back days at the South by Southwest festival in Austin, Texas. As Born to be Blue was first up, we begin with Mr. Baker, who arguably boasts a life just as compelling as his musical contemporary. The film opens in 1966, where we find Baker locked in a jail cell in Italy for what’s assumed to be drug charges. His luck is about to change, however, as a movie producer from Hollywood bails him out and casts him in a film to play himself.
Robert Budreau, the director of Born to be Blue, uses the in-story film as a narrative device to supply flashbacks throughout Baker’s life. If this sounds confusing, it sort of plays out that way on screen as well. But ultimately, the technique gets a pass due to the intrigue of the flashback scenes and Hawke’s pure dynamism in the role.
Now in 1954, we drop into the famed New York City nightclub, Birdland. Baker is giving the performance of his life, oozing cool in a tailored suit and aviator sunglasses. Miles Davis himself is in the audience, and Baker has the audacity to ask the crowd if they prefer his music over Davis’. The set ends in massive applause, and Baker is congratulated by his colleagues and a swarm of attractive young women. Things are good, but everything must come to an end.
In the present, Baker may be freed from jail and given an opportunity to star in a film, but he’s still a recovering heroine addict - a characteristic that would go on to define Baker’s life forever. He sees a form of distraction, though. It’s his co-star, Jane (Carmen Ejogo), a stunning beauty who Baker immediately falls for. After some nagging persuasion, he finally convinces her to go on a date with him, even though she knows Baker is no good due to his highly-publicized drug addiction. Sure enough, his past comes back to haunt him that very night, as some former dealers jump him as the couple leaves a bowling alley. The attack is so brutal it knocks out all of Baker's front teeth, rendering anything left of his trumpet-playing abilities useless.
From here on, Born to be Blue follows Baker’s road to redemption, as he finds himself so drawn to the music, and his new muse - Jane. The remainder of the film chronicles his triumphant comeback, and the struggles faced in between. In that regard, much of Born to be Blue’s plot is true, though Budreau took noticeable liberties in altering the storyline compared to real history.
Though one might label this deliberate attempt to fictionalize as deceitful, the majority of Baker’s true story remains. It was a wide decision to tinker with a few things in the best interest of moving along the story and engaging the audience. To chronicle the entire life of the jazz pioneer - or in any person in history, really - is essentially impossible, and by zeroing in on a specific era of Baker’s life, we can get a true glance of who this man really was - rather than an all-encompassing, but watered down biopic.
And anyway, Hawke and Ejogo are so exceptional - whether on screen together or individually - that Born to be Blue is enthralling even at its weakest moments. The chemistry between the pair is magnetic, and Hawke in particular is brilliant at portraying Baker in the most elegant and purely natural performance. Hawke doesn’t act, he just lives.
It remains to be seen how Born to be Blue will stack up against the all-time great biopics, but its an excellent effort from Hawke and Budreau. A lot of headlines will be written should Born to be Blue and Miles Ahead compete against each other during the award seasons. Until then, just enjoy both - they’re both excellent in contrasting manners.
Born to be Blue will release in limited theaters on March 25. Stay tuned to iDigitalTimes for continuing coverage of SXSW 2016, including a review of Miles Ahead.
