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siders his better.
Listening to
Reinhardt's record-
ings leaves Ray in
tears, and we are
told that both
times Ray encoun-
tered Reinhardt in
Europe, the
awestruck
American fainted.
Although
Reinhardt (at least
the actor portray-
ing him) makes a
Samantha Morton as Hattie is a comic waif who is deeply, if
single brief (and
silently and simply, devoted to Emmet Ray (Sean Penn).
hysterical) appear-
ance in the film, he
is a large and
(Anthony,LaPaglia). What she learns
haunting presence, constantly provok-
is that the life of a mafioso is more fas-
ing the one question that never leaves
cinating in its dark way than the life of
Ray's mind: Why can't he be that
a jazzman; needless to say, this nixes
any chance that she will remain faith-
good?
At the unconscious level, there is his
ful.
love for a girl, more specifically, a mute
The ending is what we have come
laundress named Hattie (Samantha
to expect from Allen. Pain and despair
Morton), who falls to his lot one day
force Ray to come to terms with the
when he and band mate Bill Shields
truth of his emotions; only after this
(Brian Markinson) are fishing for
catharsis does his music begin to rival
floozies on a New Jersey pier.
Django's.
It is only because he loses a coin toss
It should be noted, of course, as jazz
that Ray becomes paired up with the
fans will be aware, that Django
clownishly dressed (and surprisingly
Reinhardt really existed, while Emmet
frisky) "half-wit," whose expressive eyes
Ray is a product of the filmmaker's
and face nevertheless indicate an inner
imagination. Penn's performance deftly
tenderness. Soon Hattie's devotion to
hits a tricky note, making Ray into a
Ray is complete, and despite his claims
first-rate rapscallion who nevertheless
that his music depends on an absolute
is essentially harmless and inept. His
freedom, Ray himself becomes obvious-
musical pseudo-performances (Penn
ly attached, giving rise to an ambiva-
doesn't play guitar and is ghosted by
lence toward the girl that is almost as
Howard Alden), complete with enrap-
"Woody-esque" as it is Freudian.
tured facial contortions, also are some-
Eventually, fear of the feminine wins
thing to be marveled at.
out over love, and Ray steals off, only
As Hattie, Morton takes on a role
to land in the arms of another woman
that is reminiscent of Giuleta Masina's
who is Hattie's exact opposite. The
a
character in Fellini's La Strada
gorgeous and refined Blanche (Uma
sweet but dull girl who is enthralled by
Thurman) hangs around jazz clubs and
an impetuous brute. The similarity
aspires to be a writer, and Ray, with his
has prompted some critics to suggest
surprising combination of artistic virtu-
that Allen borrowed liberally for this
osity and "genuine crudeness," provides
film from his Italian predecessor.
the perfect intellectual candy.
Although Allen denies this, a nod to
On a whim, the two end up getting
Fellini in Sweet and Lowdown seems
hitched, and the loveless union that
too appropriate to have been passed
results brings out the worst in Ray —
up. After all, if there has ever been a
increasing his tendencies toward alco-
Django Reinhardt of filmmaking,
holism and skipping out on his gigs.
Frederico's the man, and it is well
The latter sends Blanche on a desper-
known that Woody Allen is one of his
ate mission to a Godfather-like club
biggest enthusiasts.
boss to rescue her husband's job, in the
Rest assured, though, that the enjoy-
course of which she has an educational
ability of this film does not derive from
encounter with bodyguard Al Torrio
its cinematic allusions. Sweet and
Lowdown is one of Allen's gems, a sleek,
Dan Zimmerman is a Huntington Woods
smooth and comic tribute to the love
resident and a senior at Yale University
of jazz, and to the jazziness of love.
Immediately after previewing this film, he
Rated PG-13 *** (out of 4)
bought his first Django Reinhardt CD.

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