The Story: A Fine Romance

Reading Gabbard's chapter, "Black and Tan Fantasies," really helped stabalize my previous reaction to this week's films within a greater context. I especially appreciated his section on "The Story." When I first watched the films, particularly Sweet Love Bitter, which I watched long before I did the reading, the plot seemed so generic, so predetermined--like going to watch some chick-flick and knowing exactly what you're going to get before the film begins. But I expected more from this film, especially given that it was based on the life of a real jazz musician. I wanted the film to show the complications that make up real life. Maybe I came into the film with too high an expectation because, when those expectations weren't met, I walked away feeling like an opportunity had been missed, like something could have been done or said--about jazz--that wasn't.

Gabbard's chapter, however, really brought it all into perspective. It makes sense now that the plot would seem generic. When all is said and done, it is.

...a musician of genius, [insert any black musician here], frustrated by the discrepancy between what he can achieve and the crummy life musicians lead (because of racial discrimination ,or the demand that the music be made commerical, or because he has a potential he can't reach), goes mad, or destroys himself with alcohol and drugs...

This is exactly what I thought when I finished watching the film. I remember talking to a fellow classmate and saying something to the effect of, "Sweet Smell of Success? Yeah, basically poverty + drugs + prostitution = JAZZ."

Although it still seems incredible to me that this kind of film, the jazz biopic, can be so formulaic, I can at least appreciate--(okay, maybe appreciate is too gracious a word)--understand Sweet Love Bitter for what it is: an insight into popular, American culture.