In my opinion, there is more than one type of Woody Allen film. There is the antic lunacy of films like Bananas and Sleeper, the serio-comic "serious" film with "meaning", like Annie Hall, Husbands and Wives and Deconstructing Harry and then there are what I think are Woody Allen's "love notes", if you'll bear with the expression, films like The Purple Rose of Cairo, Bullets Over Broadway and Sweet and Lowdown, films as a general rule that are period pieces (generally the '30's or thereabouts) that are basically mash notes from Allen to something Allen particularly cares about, such as jazz in Sweet and Lowdown (specifically jazz guitar and Django Reinhardt). The score is great, which is typical for a Woody Allen film. Allen does these little films vey well and they are almost always worth watching. Sean Penn plays a self-centered, egotistical creep with talent. I will leave any further interpretations regarding the preceding statement to the Gentle Reader. Why he was nominated for an Oscar escapes me. Samantha Morton, on the other hand, gives a sweet, if almost one-note, performance, which basically sums up the movie: worth the time and effort to watch, but a one-note film. If you like this side of Woody (and I do), this is worth seeing.
156 Reviews
Very watchable, very charming
ian_harris29 May 2003
This is a very enjoyable movie. It has many touches in it that are classic Woody Allen, so it should appeal to his many fans. It is also so strong on the jazz material that it should appeal to jazz afficianados even if they are not Woody Allen fans.
The biographical / documentary styles keep this movie away from Woody's worst excesses (I am a fan, but not a blinkered one)and provide momentum. There are one or two scenes that migrate towards farce, such as the hold-up scene(s) and the "moon seat".
This film is well worth seeing.
The biographical / documentary styles keep this movie away from Woody's worst excesses (I am a fan, but not a blinkered one)and provide momentum. There are one or two scenes that migrate towards farce, such as the hold-up scene(s) and the "moon seat".
This film is well worth seeing.
Hats Off To 'Hattie!'
ccthemovieman-124 October 2005
This is a strange movie, but one made a little bit special to me because of one memorable character: "Hattie," played by Samantha Morton. What a wonderful, endearing character! The sweet look on her face alone makes this movie worth keeping.
Another huge positive for this film is the cinematography. This is beautifully shot with great colors which look all the better on DVD.
As mentioned by other reviewers, Sean Penn also does an excellent job in the lead. The shocker for me was how good a comedic touch he exhibits. Putting his general persona or politics aside, this man deserves kudos as an actor.
There is a third very different and interesting character in this movie: "Blanche," played by Uma Thurman, who portrays an amoral woman in the last part of the film. She, too, is fascinating.
So....three interesting characters, great photography AND terrific music - jazz guitar is a central part of this story - all make for a fun hour-and-a-half of entertainment.
Another huge positive for this film is the cinematography. This is beautifully shot with great colors which look all the better on DVD.
As mentioned by other reviewers, Sean Penn also does an excellent job in the lead. The shocker for me was how good a comedic touch he exhibits. Putting his general persona or politics aside, this man deserves kudos as an actor.
There is a third very different and interesting character in this movie: "Blanche," played by Uma Thurman, who portrays an amoral woman in the last part of the film. She, too, is fascinating.
So....three interesting characters, great photography AND terrific music - jazz guitar is a central part of this story - all make for a fun hour-and-a-half of entertainment.
Proof that Sean Penn can really act
drosse679 September 2004
The two movies that come to mind when I think about Sean Penn and his acting ability are not Mystic River and Fast Times at Ridgemont High. They are Carlito's Way and Sweet & Lowdown. In both of these movies, he immerses himself in the characters, while in most of his other movies, including the art house hits like 21 Grams and Hurly Burly, he plays more or less the same type of person. Sweet and Lowdown has Penn playing a self-absorbed classical guitarist who obsesses over a world-renowned guitarist much in the way Woody Allen obsesses over things in his other movies. Woody himself shows up as a commentator (this, like Zelig, is presented in mock documentary fashion). It is amusing, if slight (and a sign of things to come in 2000-2002, with Small Time Crooks, Curse of the Jade Scorpion and Hollywood Ending). Samantha Morton won a justified Oscar nomination, but Uma Thurman and Gretchen Mol are wasted (Uma got second billing over Sean Penn, and is hardly in the movie!) Not a Woody Allen masterpiece, but fans could do worse.
An episodic bonbon
bandw6 January 2006
This is a slight but delightful work. The story is a (fictional) biography of one Emmet Ray, a cad with a passion for watching trains and shooting rats in junk yards and who just happens to be a virtuosic guitarist. Emmet does not lack for talent and ego, but his drinking, philandering, and small-time philanthropizing keep him from capitalizing on his genius. He is obsessed with Django Reinhardt as being perhaps the only guitarist who might be better - Ray has fainted both times he was in the presence of Reinhardt. The story is told as if it were a documentary of a real person with talking heads interspersed with dramatizations. It could be taken as a satire on that style of presentation since the critics being interviewed come across with just a touch of fake sincerity.
The enjoyment comes from the atmospheric and detailed re-creation of the 1930s. The nightclub scenes are a particular highlight. In fact a whole movie of just those kinds of scenes with 1930s jazz bands and singers might have been an improvement to this movie, since that is where this movie really shines.
The filming uses over-saturated colors to good effect, creating a cozy and warm feeling. There is humor, but it is gentle, particularly for Woody Allen.
As usual Allen has assembled a cast of attractive women. Samantha Morton, who plays a mute who turns out to be Ray's true love interest (a fact he realizes too late) is a joy to watch. Her performance recalls the sweet silent movie stars. Sean Penn does well with his playing Ray as somewhat of a train wreck of a man who frustrates all those he encounters, but who never-the-less has endearing qualities. He is transported into another dimension when he plays his guitar and he takes his audiences with him.
The enjoyment comes from the atmospheric and detailed re-creation of the 1930s. The nightclub scenes are a particular highlight. In fact a whole movie of just those kinds of scenes with 1930s jazz bands and singers might have been an improvement to this movie, since that is where this movie really shines.
The filming uses over-saturated colors to good effect, creating a cozy and warm feeling. There is humor, but it is gentle, particularly for Woody Allen.
As usual Allen has assembled a cast of attractive women. Samantha Morton, who plays a mute who turns out to be Ray's true love interest (a fact he realizes too late) is a joy to watch. Her performance recalls the sweet silent movie stars. Sean Penn does well with his playing Ray as somewhat of a train wreck of a man who frustrates all those he encounters, but who never-the-less has endearing qualities. He is transported into another dimension when he plays his guitar and he takes his audiences with him.
Wonderful
bijin_chick8 May 2005
A slow, rich movie. Though it lags in places, the three lead performances are indelibly written in my memory. And the great jazz soundtrack and warm colors made this movie go down like a glass of bourbon.
Embodying the archetypal difficult genius, Emmet Ray is an almost cartoonishly dislikable guy. But Sean Penn keeps him just this side of sympathetic; we loathe his actions, we curse his self-destructiveness, and yet we're compelled to keep watching in the increasingly futile hope he'll turn himself around. His last scenes are heartrending.
As Hattie, Samantha Morton strikes a perfect, almost Chaplinesque, balance of comedy and tragedy. The line separating the two is razor-thin; she dances gracefully upon it. I could say more, but perhaps appropriately, it's difficult to find words that capture the beauty of her silent performance. Half the joy is in watching her reactions naturally unfold anyway.
Like Penn, Uma Thurman portrays a pretty unlikeable character. Her Blanche is overly intellectual, questions incessantly and is in some ways just as emotionally alienated as Emmett. Though her character is grating at first (particularly in contrast to Morton), Thurman does not shrink from the less flattering aspects of her character. It's a brave performance in a thankless role.
Woody Allen has constructed a thoughtful meditation on the nature of artistry. Not on celebrity -- we all know how that film turned out -- but on the rights and responsibilities of the true artist. Emmett, Hattie and Blanche represent the axis of artists, fans and critics respectively. As their relationships play out -- naturally, inexorably and poignantly -- the viewer gets a rare treat: a film that plucks at the mind and at the heart as gracefully as Emmett picking his guitar strings.
Embodying the archetypal difficult genius, Emmet Ray is an almost cartoonishly dislikable guy. But Sean Penn keeps him just this side of sympathetic; we loathe his actions, we curse his self-destructiveness, and yet we're compelled to keep watching in the increasingly futile hope he'll turn himself around. His last scenes are heartrending.
As Hattie, Samantha Morton strikes a perfect, almost Chaplinesque, balance of comedy and tragedy. The line separating the two is razor-thin; she dances gracefully upon it. I could say more, but perhaps appropriately, it's difficult to find words that capture the beauty of her silent performance. Half the joy is in watching her reactions naturally unfold anyway.
Like Penn, Uma Thurman portrays a pretty unlikeable character. Her Blanche is overly intellectual, questions incessantly and is in some ways just as emotionally alienated as Emmett. Though her character is grating at first (particularly in contrast to Morton), Thurman does not shrink from the less flattering aspects of her character. It's a brave performance in a thankless role.
Woody Allen has constructed a thoughtful meditation on the nature of artistry. Not on celebrity -- we all know how that film turned out -- but on the rights and responsibilities of the true artist. Emmett, Hattie and Blanche represent the axis of artists, fans and critics respectively. As their relationships play out -- naturally, inexorably and poignantly -- the viewer gets a rare treat: a film that plucks at the mind and at the heart as gracefully as Emmett picking his guitar strings.
Sweet And Lowdown
cultfilmfan6 June 2005
Sweet And Lowdown, is set in the 1930's and is about a jazz musician named Emmet Ray. Emmet, liked to spend his money, drink and often showed up late or drunk to jazz appearances. One day Emmet meets a mute woman named Hattie, who falls in love with him. The rest of the film shows Emmet's jazz career going up and down and his love for other women besides Hattie. Winner of The ALFS Award for British Supporting Actress Of The Year (Samantha Morton, who plays Hattie) at The London Critics Circle Film Awards. Sweet And Lowdown, has good direction, a good script, good performances from everybody involved, good original music, good cinematography, good film editing, good production design, good art direction, set decoration and good costume design. Sweet And Lowdown, is written and directed by Woody Allen, who is one of my favourite writers and directors but I was disappointed with this film. It wasn't a bad film and it was well acted and well made but there wasn't an awful lot to it. Not too much goes on in this movie and it doesn't really give the characters a chance to be as interesting as they could be. Also coming from Woody Allen, I didn't find the film funny at all. It also lacked his usual great dialog. Still the film is entertaining and I recommend it but it is not one of Woody Allen's best films.
For The Love Of Django
jldmp116 January 2006
When we try to understand genius, or love, or "why?", we run into the same problem that the ancients encountered:
"I went to the poets I took them some of the most elaborate passages in their own writings, and asked what was the meaning of them thinking that they would teach me something. I must say that there is hardly a person present who would not have talked better about their poetry than they did themselves. That showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them." Socrates, The Apology
So here we have Woody telling a story about a storyteller, who talks and struts endlessly (Penn has a ball with this), but can only say anything through music, and he can't explain a bit of it. Much like Woody, who prattles on about every neurosis, but speaks volumes through his control of the medium. It's just something he's born to do.
And this is the only way to understand Django -- with only two working fingers on his fretting hand (accidental disfigurement), he reinvented the whole medium of guitar. The new shape of his hand forced him into holding octaves - which can be done on guitar with two adjacent fingers, unlike on the piano - and changing the way leads and comping - here, self-accompaniment - were played. His art was the necessary step before Les Paul, and thence to Wes Montgomery, and so on to you and me.
Here is devotion without hagiography, because all of this is wrapped into "one of those Emmett Ray stories", where you can 'never be sure' of what is truth, confabulation, or exaggeration.
Brilliance. Bravo, to all.
"I went to the poets I took them some of the most elaborate passages in their own writings, and asked what was the meaning of them thinking that they would teach me something. I must say that there is hardly a person present who would not have talked better about their poetry than they did themselves. That showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them." Socrates, The Apology
So here we have Woody telling a story about a storyteller, who talks and struts endlessly (Penn has a ball with this), but can only say anything through music, and he can't explain a bit of it. Much like Woody, who prattles on about every neurosis, but speaks volumes through his control of the medium. It's just something he's born to do.
And this is the only way to understand Django -- with only two working fingers on his fretting hand (accidental disfigurement), he reinvented the whole medium of guitar. The new shape of his hand forced him into holding octaves - which can be done on guitar with two adjacent fingers, unlike on the piano - and changing the way leads and comping - here, self-accompaniment - were played. His art was the necessary step before Les Paul, and thence to Wes Montgomery, and so on to you and me.
Here is devotion without hagiography, because all of this is wrapped into "one of those Emmett Ray stories", where you can 'never be sure' of what is truth, confabulation, or exaggeration.
Brilliance. Bravo, to all.
A story of an artist who dreams of the moon, and fears of riding it !
elshikh425 May 2010
Warning: Spoilers
It seems like ages since the last time I watched a decent movie by (Woody Allen). Let's see; from Annie Hall (1977) to Everyone Says I Love You (1996) things were good. Then Deconstructing Harry (1997), Small Time Crooks (2000), The Curse of the Jade Scorpion (2001), Hollywood Ending (2002), and Melinda and Melinda (2004) ALL had problems, sometimes more than their good points. In the middle of both phases is where Sweet and Lowdown exists. Now this is a good movie on all the levels.
Why Emmet Ray couldn't be Django Reinhardt? It's simple. He isn't that bold when it comes to express his feelings. So that's why he didn't tell the girl he loved, who loved him as well, that he loves her, and lost her at the end. I think there is a reason why Allen did a movie about that man, else paying a tribute to jazz guitarist he loves. Allen is the complete opposite of Emmet Ray. Dear Woody just can't get enough of showing himself to the audience through the characters of his movies during the last 35 years, some of them played by him. Or maybe, after all of these years, Woody just sees that he didn't express enough, feeling a bound with Ray as if the last is a symbol for the suppression which can kill a talented artist. We can read this movie as a conscience of importunate fear Allen has.
Anyway, I loved it. It was fantastic how Allen, out of some unfinished or uncertain stories, made his own version of Emmet Ray's bio. Btw, history itself suffers from having true and false stories! However, I felt something was missing with the background of the character. His history was a bit vague. I knew well that he was poor to the extent that made him afraid of being poor again, so he worked a lot, threw money away for looking rich, having this strange love to steal (he, to some extent, just wants to own). But on the other hand, I didn't understand what the secret of his fear to express was?, was it some kind of compulsory obsession?, was it something in his childhood?, was he that shy of his early poor life?, another unanswered question: He drank much to forget what? His fear, or his inner belief that he wouldn't be great due to this very fear?
There are some nice moments. The ones with his wife were so serene, and hilariously comic. Samantha Morton is out of this world, being a tender creature sent from better place to do this role. In that place that she came from, she was gifted with the magical diamond of acting, which made her deliver so realistic and believable performance. Sean Penn proves that he's a master of characters. He did it nearly flawlessly. However, he was lowdown and no sweet! And finally, there is nothing, and I mean nothing, that can be more joyful more than witnessing how the old jazz tracks, that Woody adores, fit perfectly in the movie he directs. Ahhh, I felt deep relief about that apart!
(Sweet and Lowdown) is romantic, funny, and sad. And, most importantly, it is where all the elements that make a usual Woody Allen's movie shared to make, at last, a fine Woody Allen's movie. The moon that Ray dreamed of and feared of, Allen captured and rode.
Why Emmet Ray couldn't be Django Reinhardt? It's simple. He isn't that bold when it comes to express his feelings. So that's why he didn't tell the girl he loved, who loved him as well, that he loves her, and lost her at the end. I think there is a reason why Allen did a movie about that man, else paying a tribute to jazz guitarist he loves. Allen is the complete opposite of Emmet Ray. Dear Woody just can't get enough of showing himself to the audience through the characters of his movies during the last 35 years, some of them played by him. Or maybe, after all of these years, Woody just sees that he didn't express enough, feeling a bound with Ray as if the last is a symbol for the suppression which can kill a talented artist. We can read this movie as a conscience of importunate fear Allen has.
Anyway, I loved it. It was fantastic how Allen, out of some unfinished or uncertain stories, made his own version of Emmet Ray's bio. Btw, history itself suffers from having true and false stories! However, I felt something was missing with the background of the character. His history was a bit vague. I knew well that he was poor to the extent that made him afraid of being poor again, so he worked a lot, threw money away for looking rich, having this strange love to steal (he, to some extent, just wants to own). But on the other hand, I didn't understand what the secret of his fear to express was?, was it some kind of compulsory obsession?, was it something in his childhood?, was he that shy of his early poor life?, another unanswered question: He drank much to forget what? His fear, or his inner belief that he wouldn't be great due to this very fear?
There are some nice moments. The ones with his wife were so serene, and hilariously comic. Samantha Morton is out of this world, being a tender creature sent from better place to do this role. In that place that she came from, she was gifted with the magical diamond of acting, which made her deliver so realistic and believable performance. Sean Penn proves that he's a master of characters. He did it nearly flawlessly. However, he was lowdown and no sweet! And finally, there is nothing, and I mean nothing, that can be more joyful more than witnessing how the old jazz tracks, that Woody adores, fit perfectly in the movie he directs. Ahhh, I felt deep relief about that apart!
(Sweet and Lowdown) is romantic, funny, and sad. And, most importantly, it is where all the elements that make a usual Woody Allen's movie shared to make, at last, a fine Woody Allen's movie. The moon that Ray dreamed of and feared of, Allen captured and rode.
Great, small movie form the genius.
Trufó15 April 2000
Woody Allen has such control over the story telling tools of cinema that he can do whatever he wants. Mixing "documentary" comments about what is happening with the characters, and straightforward and yet superbly filmed feature sequences, Allen shows once again why he is one of the greatest film directors of our time. Good plot, great performances, skillfully constructed characters, excellent camera work... can you ask for more?
sweet Woody-back's good-ass song
lee_eisenberg13 May 2006
When "Sweet and Lowdown" came out, I was somehow led to believe that Emmet Ray was a real person. Although it turns out that he wasn't, this is still a very well done movie. Sean Penn makes the most of the role, with the same sort of intensity that he always brings to his roles. He shows Ray as a rather impolite weirdo whom you can't help but admire - he is a great guitarist. Samantha Morton is equally interesting as Ray's mute love interest Hattie. It just goes to show that Woody Allen can do good work when he doesn't focus on neurotic rich New Yorkers. Also starring Uma Thurman, Anthony LaPaglia, Gretchen Mol, John Waters, Brad Garrett, and Allen as himself.
A virtuoso performance by the greatest actor of our time.
jaspoet4 August 2004
Warning: Spoilers
Sweet and Lowdown is the story of a fictional jazz guitarist who is self admittedly the second best in the world(next to that gypsy in France) but there is one thing that is clear while watching this movie, sean penn is second to no one. He is simply the greatest actor of our time and he once again proves it here. As emmett Ray, sean penn invests his very soul and embodies the role of a vain, talented, yet oblivious and cold hearted man who is actually filled with self doubt and remorse. The character is as crude a low life thief and pimp as he is a excellent musician. He is the zany, pathetic artist with a heart of stone. That penn can make you feel for him is no easy task. Penn also did an exceptional job mastering the appearance of playing the guitar for the role. Woody Allen has crafted a gem of a film filled with poignancy and humor. Samantha Morton is incredible as Hattie the mute girl who clearly worships everything about Ray, though Ray doesn't have the ability to notice a good thing when it's standing in front of his self absorbed face. That Ray is both a genius and a fool is clear and it's the emotional core of the film. He's just as at home shooting rats at the train tracks as he is performing drunk for his adoring audience. At the end of the movie there is a series of scenes in which the emotional weight of Rays mistakes seem to finally be understood by him. In one he meets Hattie again on the same boardwalk where they originally met, though she is now happily married and a mother. The false bravado of Rays personality seems to crack momentarily only to be swallowed again by his deluded machismo. The second even more heart wrenching is the final scene at the railroad with Gretchen Mol. Penn in an ill fated attempt to show off his skills for her seems to have all of his regrets, conceits and pain hit him at once. Watching Penn slowly remove the mask of Rays lonely broken heart is a gift, in an acting class of it's own. He is truly the master of American acting. Who won best actor in 2000? Russell Crowe in gladiator? And we wonder why penn doesn't believe in acting awards.
Like the guitarist in the movie, this is always second best, at best
secondtake20 December 2009
Warning: Spoilers
Sweet and Lowdown (1999)
Besides the funny idea of creating a musician who never existed and having talking heads of real experts to support the idea (done better in Zelig and, more parallel, The Rutles), there is very little happening there to keep the movie going. There are a few funny lines, for sure, but many more that are either reused Allen quips or just flat comebacks.
At first Sean Penn seems perfect for his role, and he fortunately plays his part no imitating Allen. But either he has so little to work with or he plays this guitarist so superficially, it never takes off, we never feel for him or his situation. The fact that he "fades away" at the end of his career is something like the whole movie, which didn't quite form in the first place. Funny and clever the way Scoop is funny and clever--not too much.
Samantha Morton puts in a great performance as a mute woman. And the music, a la Django, is unassailable.
Besides the funny idea of creating a musician who never existed and having talking heads of real experts to support the idea (done better in Zelig and, more parallel, The Rutles), there is very little happening there to keep the movie going. There are a few funny lines, for sure, but many more that are either reused Allen quips or just flat comebacks.
At first Sean Penn seems perfect for his role, and he fortunately plays his part no imitating Allen. But either he has so little to work with or he plays this guitarist so superficially, it never takes off, we never feel for him or his situation. The fact that he "fades away" at the end of his career is something like the whole movie, which didn't quite form in the first place. Funny and clever the way Scoop is funny and clever--not too much.
Samantha Morton puts in a great performance as a mute woman. And the music, a la Django, is unassailable.
Uncompelling movie that does look and sound great
gridoon202420 October 2022
Right in the opening scene of "Sweet and Lowdown", writer-director Woody Allen appears on camera - as himself - and tries to explain why he decided to tell this particular story of this particular character (whom he calls boorish and obnoxious), and he seems to struggle to find a reason; the movie itself is no help. Its pseudo-documentary format may remind you of Allen's "Zelig", but I think the movie in his career it's closest to is "Cafe Society": a great-looking period package with little inside. Like that film, this one isn't a total loss, either: there is lots of tuneful music, elegant production design (you really do feel transported to the 1930s), a nice Buster Keaton-esque performance by Samantha Morton, and even a fun little homage to "Rashomon", which Allen does list as one of his ten favorite films of all time. "Sweet and Lowdown" probably won't be in too many people's "ten favorite Woody Allen films" lists, though. ** out of 4.
Sweet
tedg28 November 2000
Woody is uneven to say the least. His most celebrated films strike me as failures by overreaching. But here the aspirations are slight and the result is rather winning.
All of Woody's pictures are self-referential in the sense that they are about him, his foibles and neuroses. Here, that is made more plain by the invention of a simple self-referential device: the film is about an artist who has troubles relating to women, and who has eccentric habits. Ho hum, until you add the tricks which are deft;
--The story is a documentary (complete with reminicenses) but of a completely fictitious character
--The narrative comes not from a disembodied camera, but from the contemporaries and historians, including Woody. Thus, the artist sits down with the audience, to swap tales about his avatar.
--Some of the stories are of the `as I heard it' tall tale variety, going so far as to have three versions of a scene all patent lies. This is really the best.
It all works because Penn is such an intelligent actor. He knows that he has to live in several realities:
--He is the character
--He is the fictitious remembrance of the character
--He is one of the storytellers
--He is the actor Sean Penn winking at you throughout
Penn carries this off with aplumb -- simultaneous stances, all but the first in good humor. Great drama, since you never really know where you stand. This film is a gem.
All of Woody's pictures are self-referential in the sense that they are about him, his foibles and neuroses. Here, that is made more plain by the invention of a simple self-referential device: the film is about an artist who has troubles relating to women, and who has eccentric habits. Ho hum, until you add the tricks which are deft;
--The story is a documentary (complete with reminicenses) but of a completely fictitious character
--The narrative comes not from a disembodied camera, but from the contemporaries and historians, including Woody. Thus, the artist sits down with the audience, to swap tales about his avatar.
--Some of the stories are of the `as I heard it' tall tale variety, going so far as to have three versions of a scene all patent lies. This is really the best.
It all works because Penn is such an intelligent actor. He knows that he has to live in several realities:
--He is the character
--He is the fictitious remembrance of the character
--He is one of the storytellers
--He is the actor Sean Penn winking at you throughout
Penn carries this off with aplumb -- simultaneous stances, all but the first in good humor. Great drama, since you never really know where you stand. This film is a gem.
Decent Woody Allen Film, But Not One of My Favorites
evanston_dad29 June 2010
Woody Allen's fictionalized "documentary" about a famous jazz guitarist's rise and fall in Depression-era America.
This plays out like one of those biopics about famous musicians that all blend into one another because of their sameness ("Ray," "Walk the Line"), the difference here being that Sean Penn's Emmet Ray is a fictional creation, and Allen is lampooning the very conventions that make those other movies so boring.
Penn displays a gift for comedy he hadn't exercised since "Fast Times at Ridgemont High," while Samantha Morton made her first major appearance in front of movie audiences as his mute, long-suffering and ever-dependable wife.
This isn't one of my favorite Allen comedies, but it's a pretty good movie.
Grade: B
This plays out like one of those biopics about famous musicians that all blend into one another because of their sameness ("Ray," "Walk the Line"), the difference here being that Sean Penn's Emmet Ray is a fictional creation, and Allen is lampooning the very conventions that make those other movies so boring.
Penn displays a gift for comedy he hadn't exercised since "Fast Times at Ridgemont High," while Samantha Morton made her first major appearance in front of movie audiences as his mute, long-suffering and ever-dependable wife.
This isn't one of my favorite Allen comedies, but it's a pretty good movie.
Grade: B
The first essential Woody Allen film in a long time.
Ben_Cheshire31 May 2004
Sean Penn plays Emmett Ray, a little-known jazz guitarist, an eccentric, egocentric genius self-proclaimed as the "greatest guitar player in the country" or the "second greatest guitar player in the world" - because of that gypsy from France, the bane of his life, Django Reinhardt. The story of Sweet and Lowdown is the story of Emmett and the girl he first describes as "the little one with the silly hat," who is also, incidentally, called Hattie. There is something so special and memorable about the chemistry between Hattie and Emmett. Hattie is perfect for Emmett, because she's mute, and therefore he can sound off all day about how great he is, and she's the one person who won't contradict him.
Woody has the knack of making highly watchable movies - and popping them out one a year. There is a continuity across them all, yet they all seem somewhat unique. Sweet and Lowdown stands heads and shoulders above every other film Woody has made since Husbands and Wives. With Sweet and Lowdown, Woody reminds us why we loved him in the first place - yet i'm not sure i can think of another Woody film that's as genuine, beautiful and moving, yet eccentric and funny at the same time. Annie Hall was probably as touching, but with Woody is no actor next to Penn, which i think makes an incredible difference! Penn brings to life a character so eccentric and unbelievable, yet we never doubt him, we never feel he's not a total human being.
Penn's performance is counterbalanced by another equally moving performance by Samantha Morton as Hattie. Often you'll find yourself watching a two-shot with the both of them on screen, and you won't be able to decide which character you're more curious to watch. More often than not, you'll watch Samantha Morton, to see what Hattie is thinking and feeling. An extraordinary job by an extraordinarily talented actress you may have seen as the mother in In America or the pre-cog Agatha in Minority report.
The one fault in the film is Uma Thurman - she is badly miscast and clearly only suited to intentionally hammy fodder like Kill Bill. Her character, Blanche, is great ("Okay, so i slept with him, but i was just researching a book!"), which makes it more the shame that Thurman speaks her line like she thinks this is a cartoon or a Tarantino movie. The audience will only accept the eccentricity of this style if the performances are genuine: she gets an F. She pops the bubble of this movie. When she appears, we suddenly realise its only a movie, and the spell is broken. Nevertheless, she's only in a relatively small portion of the film, and she can't bring down the rest of it.
Sweet and Lowdown has the feeling of telling you a tale, and it spins some great fun yarns about little-known jazz guitarist Emmett Ray. Penn and Morton bring to life an incredible couple of characters - two of Woody's best creations. Well designed with nice period costumes and well directed, especially the magestic final crane shot (a reference to La Strada i believe). The story is beautifully punctuated with scintillating jazz music by Dick Hyman and others.
"Come listen," Emmett tells someone at one point, "you'll love this, i'm great."
Woody has the knack of making highly watchable movies - and popping them out one a year. There is a continuity across them all, yet they all seem somewhat unique. Sweet and Lowdown stands heads and shoulders above every other film Woody has made since Husbands and Wives. With Sweet and Lowdown, Woody reminds us why we loved him in the first place - yet i'm not sure i can think of another Woody film that's as genuine, beautiful and moving, yet eccentric and funny at the same time. Annie Hall was probably as touching, but with Woody is no actor next to Penn, which i think makes an incredible difference! Penn brings to life a character so eccentric and unbelievable, yet we never doubt him, we never feel he's not a total human being.
Penn's performance is counterbalanced by another equally moving performance by Samantha Morton as Hattie. Often you'll find yourself watching a two-shot with the both of them on screen, and you won't be able to decide which character you're more curious to watch. More often than not, you'll watch Samantha Morton, to see what Hattie is thinking and feeling. An extraordinary job by an extraordinarily talented actress you may have seen as the mother in In America or the pre-cog Agatha in Minority report.
The one fault in the film is Uma Thurman - she is badly miscast and clearly only suited to intentionally hammy fodder like Kill Bill. Her character, Blanche, is great ("Okay, so i slept with him, but i was just researching a book!"), which makes it more the shame that Thurman speaks her line like she thinks this is a cartoon or a Tarantino movie. The audience will only accept the eccentricity of this style if the performances are genuine: she gets an F. She pops the bubble of this movie. When she appears, we suddenly realise its only a movie, and the spell is broken. Nevertheless, she's only in a relatively small portion of the film, and she can't bring down the rest of it.
Sweet and Lowdown has the feeling of telling you a tale, and it spins some great fun yarns about little-known jazz guitarist Emmett Ray. Penn and Morton bring to life an incredible couple of characters - two of Woody's best creations. Well designed with nice period costumes and well directed, especially the magestic final crane shot (a reference to La Strada i believe). The story is beautifully punctuated with scintillating jazz music by Dick Hyman and others.
"Come listen," Emmett tells someone at one point, "you'll love this, i'm great."
Sweet but minor
allyjack20 September 1999
A sweet but minor compendium of fictionalized showbiz chestnuts, with Sean Penn playing a jazz guitarist who - despite drinking and womanizing and general unreliability - enjoys a brief 20's and 30's heyday before fading out of sight. The film keeps a brisk pace, and although Penn's artfully stylized performance could have supported a more probing portrayal, that's not on the agenda: the illustrations of his neurosis are largely played for comedy (of the wistful smile rather than the laugh-out-loud kind). In its zippiness and general inconsequentiality and fake documentary trappings the film sometimes reaches all the way back to Allen's debut, Take The Money And Run. It keeps emphasizing the unreliability of its own portrayal, stressing how the legend may have overtaken the facts, but it doesn't really matter - the film apparently aspires little to art or satire, and achieves its goal of mellow raconteurship.
Emmet Ray: Wanna go to the dump and shoot some rats?
Galina_movie_fan30 April 2008
Woody Allen's "Sweet and Lowdown" (1999), a fictional biopic about "the world's second best jazz guitarist," Emmet Ray is sweet, funny, dramatic, filled with fantastic music and is simply terrific. "Sweet and Lowdown" reminds "Bullets over Broadway" (1994), another Allen's period movie set in the nostalgic area of great jazz and gangsters who understood and supported art and the artists, at least to the certain points. Sean Penn gave IMO his best performance as the man as talented as he was egotistic and self-centered. Creating and performing brilliantly the clear, magical, and melancholic guitar compositions, Emmett Ray (Penn) was also busy with kleptomania, a little pimping on the side, dealing with gangsters, shooting rats and watching passing trains as his favorite hobbies, and also drinking, and chasing girls. Young Samantha Morton who was only 21 and ironically never seen any Allen's movie prior to taking a role of Penn's mute girlfriend-laundress, had to do all the acting with her face, eyes, and body language and was she good. The unrequited tender and all-forgiving love has the face, and that's Samantha's face in Woody Allen's bittersweet, comical and poignant Fake documentary about a true talent which was larger than the man who possessed it.
Samantha Morton
AaronB-222 January 2000
Samantha Morton is absolutely the highlight of this film. The rest of the film is wonderful, but Morton truely shines in her role in this film. Her facial expressions really make her character show through. Facial expressions are very important to this film, but absolutely key to her character, which will make more sense when you see it, I will say nothing more than that, and I loved the ending.
Proof that Allen still has it
Spleen4 April 2002
Warning: Spoilers
I didn't find out until afterwards that Woody Allen made it all up - that Emmet Ray didn't even exist. Nor did my sister. She thought the lack of accuracy took some of the shine off the film; I thought it made it an even greater creation.
It would spoil the joke (well, it's not really a joke, nor a hoax; I don't know what word to use) for Woody Allen to let on that it's all made up, WITHIN the film, even during the opening or closing credits (although if you read the latter carefully you'll notice that "Emmet Ray" is not credited with performing any of the music, even though Django Reinhardt is). But the film is neither deceptive nor intended to deceive. If you know in advance that it's pure fiction then so much the better. Unlike "Fargo" (which was good enough not to need to lie to us but did anyway), it never tells us it ISN'T fiction; unlike "The Blair Witch Project", it has as strong an effect even if we're aware that it's fiction - and treat it as such.
It is, in fact, one of Woody Allen's few flawless gems. (Those of his pictures that aren't flawless gems are, of course, never less than likeable.) This would be a perfectly constructed documentary if it WERE a documentary. It's a perfectly constructed work of fiction given that it IS fiction. Such a balancing act is harder than it looks. But who cares? What matters is the unerringly apt art direction (nobody does 20th Century period pieces better than Allen), photography, acting and dialogue. The story is slight but still carries a charge; even if it didn't, there's more than enough of a profusion of interesting narrative AROUND the story (never getting in the way) to carry the movie.
It would spoil the joke (well, it's not really a joke, nor a hoax; I don't know what word to use) for Woody Allen to let on that it's all made up, WITHIN the film, even during the opening or closing credits (although if you read the latter carefully you'll notice that "Emmet Ray" is not credited with performing any of the music, even though Django Reinhardt is). But the film is neither deceptive nor intended to deceive. If you know in advance that it's pure fiction then so much the better. Unlike "Fargo" (which was good enough not to need to lie to us but did anyway), it never tells us it ISN'T fiction; unlike "The Blair Witch Project", it has as strong an effect even if we're aware that it's fiction - and treat it as such.
It is, in fact, one of Woody Allen's few flawless gems. (Those of his pictures that aren't flawless gems are, of course, never less than likeable.) This would be a perfectly constructed documentary if it WERE a documentary. It's a perfectly constructed work of fiction given that it IS fiction. Such a balancing act is harder than it looks. But who cares? What matters is the unerringly apt art direction (nobody does 20th Century period pieces better than Allen), photography, acting and dialogue. The story is slight but still carries a charge; even if it didn't, there's more than enough of a profusion of interesting narrative AROUND the story (never getting in the way) to carry the movie.
Funny Story Of A Dislikeable Character
AliceofX14 February 2016
The Sweet and Lowdown will make you believe it is a story about actual people. The narrators and the stranger than fiction portraits of life give a realistic feel to it. It's a typical Woody Allen flick in its combination of humour and interesting story.
The movie follows a dislikeable character, played by Sean Penn, who you love to see through out his many failures in life. The film has vibrant characters and that is arguably the best part of it.
The only really bad thing I could say against this film is that it doesn't really have an ending. It just goes on until it ends at an arbitrary point. If this were an actual biopic you could understand it as just following history, but as it is it just seems odd. Though it could be said that it just sticks to style.
Overall the Sweet and Lowdown is like a familiar meal that is filling while not exactly novel. It's a movie that will be more enjoyed by Woody Allen's fans because while it is funny the plot leaves one feeling empty and longing for more.
The movie follows a dislikeable character, played by Sean Penn, who you love to see through out his many failures in life. The film has vibrant characters and that is arguably the best part of it.
The only really bad thing I could say against this film is that it doesn't really have an ending. It just goes on until it ends at an arbitrary point. If this were an actual biopic you could understand it as just following history, but as it is it just seems odd. Though it could be said that it just sticks to style.
Overall the Sweet and Lowdown is like a familiar meal that is filling while not exactly novel. It's a movie that will be more enjoyed by Woody Allen's fans because while it is funny the plot leaves one feeling empty and longing for more.
Withheld emotion.
bobsgrock21 August 2010
Sweet and Lowdown is the type of Woody Allen movie you wouldn't expect the legend to make, particularly after seeing a nasty and brutish piece like Deconstructing Harry. Yet, Allen shows his most gentle side here; by giving us two terrific and engaging characters, we are deeply engrossed in this fictional tale about a Depression-era jazz player who considers himself to be the best in the world, or at least the best next to Django Reinhardt.
Emmet Ray is a fictional creation from Woody Allen's mind, but I find it fascinating how penetrating he is able to go in order to explore every facet of his character. Sean Penn is also able to bring forth the true feelings, or lack of feelings, Ray exhibits to nearly everyone he encounters. It is a great performance in a great career for Penn, and the same can be said for Samantha Morton who is brilliant as the mute Hattie who loves Emmet but is continually rejected by his lofty ideas of remaining completely detached.
This film is a loose reworking of Fellini's classic film La Strada, which also tells the tale of a great artist (in this case a circus strongman) and his relationship with a mute girl who loves him unconditionally. Both films end similarly, and I think it isn't too far of a stretch to say that Allen's ending may hit even harder the emotions than Fellini. What Allen does here is gives us a very powerful and sad love story, effectively recreate the era of a time in America when resources were low but joy was high and plant a little sweetness and niceness into us for 90 minutes. The film looks great in its photography, sets and costumes and also has two enamoring performances by Penn and Morton. Whether a fan of Woody Allen or not, this is a film to see.
Emmet Ray is a fictional creation from Woody Allen's mind, but I find it fascinating how penetrating he is able to go in order to explore every facet of his character. Sean Penn is also able to bring forth the true feelings, or lack of feelings, Ray exhibits to nearly everyone he encounters. It is a great performance in a great career for Penn, and the same can be said for Samantha Morton who is brilliant as the mute Hattie who loves Emmet but is continually rejected by his lofty ideas of remaining completely detached.
This film is a loose reworking of Fellini's classic film La Strada, which also tells the tale of a great artist (in this case a circus strongman) and his relationship with a mute girl who loves him unconditionally. Both films end similarly, and I think it isn't too far of a stretch to say that Allen's ending may hit even harder the emotions than Fellini. What Allen does here is gives us a very powerful and sad love story, effectively recreate the era of a time in America when resources were low but joy was high and plant a little sweetness and niceness into us for 90 minutes. The film looks great in its photography, sets and costumes and also has two enamoring performances by Penn and Morton. Whether a fan of Woody Allen or not, this is a film to see.
Sweet and Lowdown
oOoBarracuda26 July 2017
If I maintained a "bucket list", near the top of that list one would see "Cafe Carlyle, Monday night, 8:45". Perhaps the only thing more consistent in Woody Allen's life than his film production schedule is his clarinet playing. Woody played clarinet in a jazz band for 25 years before the venue closed, but that didn't stop Woody. He now plays where he has played for over a decade at the Carlyle Hotel with Woody Allen & the Eddy Davis New Orleans Jazz Band. A fan of jazz since he was a teenager, which has shown in all of his films, I would love to see Woody Allen play clarinet in person. Perhaps the film in which Woody most clearly illustrates his love for jazz is in his 1999 feature, Sweet and Lowdown. The film brings back to life the 1930's through a guitarist Emmet Ray, who worships a better- known guitarist Django Reinhardt. Sean Penn brings to life the quirky self-sabotaging Ray with an unbelievable jazz soundtrack accompanying the film. In a beautifully raw tale of love and regret, Sweet and Lowdown is an entry of Woody Allen's filmography not to be missed.
Emmet Ray (Sean Penn), the free-spirited, arrogant, alcoholic is also one of the best guitarists of his time. Despite his talent, he is thoroughly obsessed with the French gypsy guitarist, Django Reinhardt. Emmet only allows himself to idolize Django from afar, as he has a morbid fear of actually meeting the musician. Relayed through a mockumentary, a format Woody Allen had previously successfully explored, the audience hears from many people who knew Emmet Ray. It is revealed that Emmet Ray is largely unknown today because he refused to make too many recordings for fear that someone would copy his style. A colorful person with an unknown past has made Emmet an interesting character study. Emmet didn't care for others too much, living life as a womanizer and using prostitutes to fund his lifestyle. A complete eccentric, Emmet Ray was as unreliable in his music career as he was his personal life. Even finding true love wasn't enough to push Emmet beyond himself to deeply care about anyone else. Deciding to keep his focus on him alone, Emmet breaks up with Hattie (Samantha Morton), his one true love because he realizes himself to be incapable of returning the loyalty she gives to him. When he finally realizes his mistake, it is too late to get Hattie back and may be too late for Emmet to truly achieve happiness.
Sweet and Lowdown, set in the heart of the jazz golden age in the 1930's, was filled with incredible period detail, maybe the best in a Woody Allen film up to that time. The film opens in a wonderful way with monologues of those that knew Emmet, making it clear that Woody Allen has dipped into the mockumentary style once again. The mockumentary is a sub-genre Woody Allen executes well, so seeing another from him was a treat. It probably goes without saying, but here I am to waste lines with it anyway, the score in Sweet and Lowdown is pitch perfect. The amazing jazz punctuating the plight of a devoted musician bring the emotion in Sweet and Lowdown to a fever pitch. The color used in Sweet and Lowdown was sensational bringing to life the heavy regret and emotional despair Emmet brought upon himself. Woody Allen perfectly explores someone who self-sabotages their relationships and must live with the regret of pushing away their one true love.
Emmet Ray (Sean Penn), the free-spirited, arrogant, alcoholic is also one of the best guitarists of his time. Despite his talent, he is thoroughly obsessed with the French gypsy guitarist, Django Reinhardt. Emmet only allows himself to idolize Django from afar, as he has a morbid fear of actually meeting the musician. Relayed through a mockumentary, a format Woody Allen had previously successfully explored, the audience hears from many people who knew Emmet Ray. It is revealed that Emmet Ray is largely unknown today because he refused to make too many recordings for fear that someone would copy his style. A colorful person with an unknown past has made Emmet an interesting character study. Emmet didn't care for others too much, living life as a womanizer and using prostitutes to fund his lifestyle. A complete eccentric, Emmet Ray was as unreliable in his music career as he was his personal life. Even finding true love wasn't enough to push Emmet beyond himself to deeply care about anyone else. Deciding to keep his focus on him alone, Emmet breaks up with Hattie (Samantha Morton), his one true love because he realizes himself to be incapable of returning the loyalty she gives to him. When he finally realizes his mistake, it is too late to get Hattie back and may be too late for Emmet to truly achieve happiness.
Sweet and Lowdown, set in the heart of the jazz golden age in the 1930's, was filled with incredible period detail, maybe the best in a Woody Allen film up to that time. The film opens in a wonderful way with monologues of those that knew Emmet, making it clear that Woody Allen has dipped into the mockumentary style once again. The mockumentary is a sub-genre Woody Allen executes well, so seeing another from him was a treat. It probably goes without saying, but here I am to waste lines with it anyway, the score in Sweet and Lowdown is pitch perfect. The amazing jazz punctuating the plight of a devoted musician bring the emotion in Sweet and Lowdown to a fever pitch. The color used in Sweet and Lowdown was sensational bringing to life the heavy regret and emotional despair Emmet brought upon himself. Woody Allen perfectly explores someone who self-sabotages their relationships and must live with the regret of pushing away their one true love.
Tedious and unfunny.
1bilbo3 April 2004
It was so obvious that Sean Penn was not playing the guitar during the performances. I am surprised that Woody Allen who is a good musician would insult guitarists like this. Penn was not only not playing but nowhere near the area of the fingerboard that the notes were coming from.
The only interest was Django`s music apart from that the film dragged on with a very poor ending. somebody tell Woody that jazz guitar players do not smash up their guitars - it just doesn`t happen.
I will buy the CD of the music but never watch the film again.
The only interest was Django`s music apart from that the film dragged on with a very poor ending. somebody tell Woody that jazz guitar players do not smash up their guitars - it just doesn`t happen.
I will buy the CD of the music but never watch the film again.
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