![]() How to never judge somebody by their steering wheelĬause you know that mother fucker in that Ford TaurusĬould be the next mother fucker in that new Porscheīut like I said it's hard to know where you're headed That clip was crazy, I swear it felt like we won the lottoīut a million bucks can't buy priceless momentsīut every one of us wants this gift we own Or at her house when MTV first showed my face When the radio first played our song though? ![]() ![]() Remember ridin' 'round in Ashleigh's car though? Listening to the songs that put our asses in this empty condo So until that day, just keep that Kells inside your playlist andīring those speakers up on blast, play it all night long It's hard to know when we're going when there's no expiration It's hard to find where you're headed when there's no destination It's hard to find the answer when they have no explanation I mean I know you're trying to think it outīut go with what you feel cause real problems can't be calculated If don't nobody that looks like us makes it? Like I said though, the music didn't move me much and the hep-cat jive talk of this cloistered world rather grated after a while, but all in all this was an interesting and provocative modern-day take on the Bard, with a good cast, solid direction and the additional ingredient of some contemporary jazz music for those who really care for it.Cause how we supposed to know that what we dream is possible Interestingly, the tragedy of the original play is given a more Hollywood-style ending, which particularly to those of us familiar with the original, seems a bit of a cop-out, although I can perhaps understand Deardon's reluctance to openly vilify Harris's character, under the circumstances. Betsy Blair also contributes a brief, but telling performance as Johnny's overlooked wife. McGoohan dominates as the twitchy, scheming Johnny and certainly impresses with his drumming skills, but there's good support for him provided by Michell, Stevens and particularly Harris, who you could easily imagine portraying the tragic Moor in the original "Othello". The movie itself is very set-bound with the camera rooted in Attenborough's massive apartment, contributing to the theatricality of the piece. Deardon daringly posits two mixed-race relationships in the film and laudably does so in a natural and unobstrusive way. It all kicks off at a swinging first wedding anniversary party for Harris and Stevens hosted by promoter Richard Attenborough, the guest-list of which includes big-shot record company executive Bernard Braden as Johnny gets to work spinning his web even if it means innocent people's lives will be destroyed. To do this he has to remove the two men he sees are in his way, Stevens' former musical accompanist, trumpeter Keith Michell and her new husband, black band-leader Paul Harris. That action revolves around Patrick McGoohan's conniving and devious drummer Johnny, whose only way to forward his career is to co-opt retired singer Marti Stevens into joining his band. Actually they none of them are on screen for long and only get a few cursory lines and some brief musical interludes between them, so that they don't affect the action elsewhere, but I guess they add a flavour of authenticity to proceedings. I'm no jazz-buff but readily appreciate that for those who are, the presence of big names like Charles Mingus, Dave Brubeck and Johnny Dankworth In the cast will make this film a draw almost for that reason alone. Here, he returns to this territory as he not only transposes the main plot elements of Shakespeare's "Othello" to the then present day but also imaginatively sets it in the jazz world of the time. I came to this little-known British movie after watching another film director Basil Deardon had made not long before called "Sapphire" which as its main theme addressed the issue of interracial relationships in today's England.
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