“Jazz is Paris and Paris is jazz,” spoke-sang Malcolm McLaren a quarter-century ago, though the statement is valid as ever today: Since the end of World War I, when a number of African American sol…
“Jazz is Paris and Paris is jazz,” spoke-sang Malcolm McLaren a quarter-century ago, though the statement is valid as ever today: Since the end of World War I, when a number of African American soldiers settled in Paris — and still others left their music behind — the city has become a kind of world capital for jazz, with clubs still packing in audiences around town.
To some degree, they are. The vérité-styled show was lensed on location. Like the pianist setting the key for his ensemble to follow, Chazelle’s opening chapters were shot on 16mm film by Olivier Assayas collaborator Eric Gautier, using a jumpy handheld aesthetic that’s as deeply indebted to John Cassavetes as it is to the French New Wave.
Elliot, as we come to understand over the course of a first episode focused primarily on him, is a New Yorker who left his wife and kids — one of whom is now dead, while the other is what we’d call “at risk” — to co-manage a jazz club in Paris. His business partner, Farid , handles the books, while Elliot focuses on the music, which is a risky arrangement when a menacing debt collector comes around looking to get paid.
The club is the hub around which all the characters’ lives revolve, and where one of them ends abruptly about half an hour in. It’s a hard loss to take for the audience, since that person was the ensemble’s most promising — although a future episode could flash back, since each one appears to be centered on a different person. The characters struggle to accept it, too, and yet Elliot insists on opening the club that very night. The place is deserted at first. “Somebody was killed here.
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