Aubrey Malone
Miles Ahead (15A)
For those of us who’ve watched Don Cheadle in films over the years – not all of which could be described as consciousness-raising – it comes as some surprise to see him eating the heart and soul out of a part. He does that here with his electrifying portrayal of jazz legend Miles Davis. Not only that, he produces and directs the film as well.
I’ll eat my hat if he doesn’t win an Oscar for it. It would be the ideal opportunity for Hollywood to atone for the virtual elimination of black actors from the winner’s podium in recent years.
Describing him as ‘the Howard Hughes of Jazz’ – he more closely resembles the Jimi Hendrix of the form, or maybe the Bob Marley – the film begins with him on the verge of a possible comeback.
Cheeky journalist Dave Braden (Ewan McGregor) arrives at his door hoping for a scoop interview but instead gets a punch in the face – and some death threats from the belligerent musician.
Picking up guns with the same frequency as he does his trumpet, Davis immerses himself in a sea of alcohol and cocaine as he tries to recapture the magic of his early years. His inability to do so makes him violent – both verbally and physically – with almost everyone he encounters.
Editing
It isn’t a biography per se; rather a few action-packed days in a hectic life. Thanks to some inspired editing, the film juxtaposes past and present as the ‘short back and sides’ Davis of the forties gives way to the limping, frizzy-haired figure of the seventies.
His marriage to Frances (Emayatzy Corinealdi) is on the rocks. She gives up her dancing career for him only to see him dallying with other woman. But he never gets over losing her and drowns his sorrow in whiskey.
During one of their more violent quarrels, the director turns the film soundtrack off, which means we have to lip-read what’s being said. One of Davis’ songs plays in the background. The scene underlines the fact that the film is as much about the music as the man. It’s equally atmospheric too.
Captivating work
It’s a captivating work but be warned: Every other word out of Davis’ mouth is a four-lettered one. He talks in a hoarse whisper throughout, reminding us of Theodore Roosevelt’s “speak softly and carry a big stick”.
In the end, you have to revere him for his obsession with getting the music right. He lets everything else slide, including his health.
As blood drips out of his injured hip at one point he cradles his whiskey and barks orders at all and sundry, a tortured legend in search of a tape an underhand Columbia executive has stolen from him.
His attempts to get it back range from tragedy to humour.
This is one of the films of the year, with the performance of a lifetime from Cheadle.
After a few minutes it’s not Cheadle we’re watching: it’s Davis.
Excellent *****