This biopic (of sorts) about Miles Davis is clearly a labour of love for director, writer, producer and star Don Cheadle, but it’s only intermittently successful as a film. Cheadle is excellent, though quite how much he captures of the famously prickly Davis is certainly debatable, but the real issue is the way it makes Ewan McGregor’s Scottish music journo the way into the story. McGregor is largely pointless, and indeed spends a lot of the time on the sidelines distracting attention by repeating inane profanities. Perhaps he’s there, though, to allow Davis someone on whom to unleash his violent temper, for he had a rather more disturbing tendency for spousal abuse, little of which we see here except for one music-led sequence with his first wife Frances (a powerful Emayatzy Corinealdi, probably the film’s best performance). That said, it’s far from a hagiography, and while it comes with the imprimatur of the musician’s estate, it also doesn’t downplay his irritable, violent and self-destructive sides. Indeed, much of the film is taken up with a boisterous (and freewheelingly invented) chase sequence as Davis tries to track down some purloined master tapes from his late-1970s ‘comeback’ (he dropped out of the business for five years), though flashbacks to the first flush of his late-1940s and 1950s success recur throughout. I wanted to like this a lot more than I ended up doing, but it’s a noble attempt to capture something of this jazz legend.
Director Don Cheadle; Writers Steven Baigelman and Don Cheadle; Cinematographer Roberto Schaefer; Starring Don Cheadle, Ewan McGregor, Emayatzy Corinealdi; Length 100 minutes.
Seen at Curzon Victoria, London, Friday 22 April 2016.