Paris Blues [Region 2]

A long time ago I saw a movie where a person-of-color said France was a good place to live because the word black was used to describe one’s appearance rather than a judgment. After failing for years to recall where the statement originated, I discovered it was in Paris Blues. The plot is about two American expatriates, trombonist Ram Bowen (Paul Newman), whose moniker is a play on the name of the nineteenth-century French poet, Arthur Rimbaud (see films Eddie and the Cruisers 1983 and Total Eclipse 1995), and saxophonist Eddie Cook (Sidney Poitier). Having a regular gig and loyal fan base, the men are content with the way things are until they meet American tourists Lillian (Joanne Woodward) and Connie (Diahann Carroll).The story which takes place in 1950s Paris opens with a panoramic view of old rooftops, a reminder that the city has a long history of being a center for the arts. From there the focus zeroes in on Marie Seoul’s nightclub, a rathskeller featuring Ram and Eddie as headliners of a jazz band. Although the men excel at playing popular tunes like 'Take the “A” Train' and 'Mood Indigo', Ram’s actual dream is to write and perform original compositions. One day, he sees a billboard announcing that his old friend renowned musician Wild Man Moore (Louis Armstrong) is coming to town, and he goes to the train station hoping to get an evaluation of a piece he is writing. While there he encounters the lovely Connie and, being a womanizer, immediately begins flirting with her. Flattered, she responds in kind, telling him she and a friend have come to Paris on a two-week vacation. The potential of an interracial relationship seems highly possible until Connie introduces Ram to Lillian, who is noticeably smitten. Attracted to both women, Ram invites them to come to see him play at the club, but determined to have him choose her, Lillian edges Connie out by saying she’ll be there.The women show up as promised, and Lillian seems intensely mesmerized by Ram’s performance. At the end of the evening, he brings Eddie to their table, and because the saxophonist finds Connie intriguing, he suggests that the four of them go to breakfast. Ram, who has a reputation for being irascible, says that he has other (better?) things to do and walks away. Finding the rudeness inexcusable, Connie loses any attraction she might have had for the man, but Lillian, who still feels inexplicably drawn to him, tells her friend to go to the restaurant with Eddie, then turns around and follows (chases?) Ram. After a brief conversation, they go to his apartment for sex, not bothering to exchange personal information until the next morning.Lillian describes herself as a single mother with two children who hasn’t had feelings for anyone in a long time, suggesting that she may be ready to try again. Ram says he is a solitary man whose life is wrapped up in his music, clearly cautioning her that he is a poor candidate as a love interest. Taking a different tack, Connie and Eddie spend their evening together talking. Still wounded by the hostilities he endured as a black man in America, the musician says he’s going to remain in France indefinitely because he hasn’t encountered racial discrimination in the five years that he’s lived there. In response, Connie says she is active in the Civil Rights movement and although things back home have gotten better, there is still a lot of work to do, implying that by staying in Paris, Eddie is shirking his responsibilities.From that point on, the couples’ paths diverge. Ram takes Lillian to a few places around the city, but they spend most of their time in his apartment having sex. Since her attachment to the musician is emotional, she pressures him about coming back to America so they can be together, completely ignoring the warnings he’s given her from the start. Each time he rebuffs her pleas by citing his music as the reason he cannot commit to anyone, she walks out, then returns a short time later hoping he’s changed his mind. When Ram continues to turn her down, however, she gets fed up and arranges to leave Paris early. Their future seems doomed until he meets with record producer Rene’ Bernard who says that the songs are okay but need more work to be considered serious compositions. Crestfallen, he goes to Lillian and agrees to come with her, an offer that she readily accepts. Vowing he’ll meet her at the train station in the morning, Ram leaves.Connie and Eddie also become close quickly, but although emotions factor into their relationship, at the core of the connection is a shared history of racial discrimination. Although she can appreciate why Eddie stays in France, Connie believes it is his obligation to return home and help black people gain equality. Despite having different opinions, they discuss marriage, but their disagreement about where to live remains an almost insurmountable stumbling block. Finally, Connie offers a compromise by suggesting Eddie try living in the U.S. for a year before making a final decision. When he steadfastly refuses, she gives up and decides to return home with Lillian. Connie really loves Eddie, however, and at the last minute she seeks him out to try one last time. Having been miserable without her, Eddie agrees to give Connie’s idea a chance and says he’ll come to the states as soon as he gets his affairs in order. The next morning, he joins the women at the train station to see Connie off, but Ram is running late. Delaying to board for as long as she can, Lillian waits until the train is ready to pull out of the station before accepting defeat. Just as she starts toward the steps, however, Ram arrives, not to join her, but to explain that he has to remain in Paris and continue working on his music. As the train pulls out of the station, workers cover the billboard that displayed Wild Man Moore’s picture with a new advertisement.Other than receiving praise for its soundtrack, Paris Blues originally received negative reviews, a trend that changed over time. Although Connie and Eddie clearly reflected racial problems in American society, the interactions within the couples also examined gender roles and sexuality. At a time when Rob and Laura Petrie were still sleeping in separate beds, the erotic relationship between Ram and Lillian must have been shocking. Even though their behavior predicted the coming sexual revolution, however, the relationship was actually traditional since she equated coitus with love and marriage, and he gladly took part in the sex act but refused to commit. The emotional perspective between Connie and Eddie, on the other hand, is forward looking. Although it eventually becomes intimate, the pair’s relationship is based on mutual respect. They see one another as equals who can disagree yet remain together, a philosophy that works until the conundrum of where to live arises, a problem they resolve by having a strong sense of commitment and being willing to compromise.

Even featuring Paul Newman and Sidney Poitier, arguably 2 of Hollywood's most handsome leading men at the time, "Paris Blues" fell into almost instant obscurity for many reasons having to do with breaking barriers and redefining social mores. I love this movie because the characters are all flawed but still admirable and we root for them in their conflicts. Filmed partially in "the real Paris" it is a beautiful black and white love letter to the City of Lights.The scene behind the opening credits tells much of the story to come. A smoky, subterranean jazz club in Paris. Among the audience are gay couples, lesbian couples, interracial couples, middle aged cougars with much younger boy toys, junkies, beatniks, crazies... all expressing their collective love of jazz, and this is only the first 2 minutes! No wonder so many Americans flocked to Paris in the 1960s.The 2 main characters are American expatriates. Paul Newman's character fled the US in order to be recognized as a serious musician/composer when success eluded him in his homeland. Sidney Poitier's character fled the US in order to be treated with the kind of respect that didn't exist for black men in the American south at the time.Very early on, Newman's character makes an unabashed play for Diahann Carroll's character - interracial flirting unheard of at the time. Shortly thereafter he beds down with Joanne Woodward's character after knowing her for only a few hours. Another game changing dynamic. The movie also addresses heroin addiction in a dreadfully realistic manner. By the end, both characters had to confront their fears and apprehensions head on, and both do what they know they must do.It is only in retrospect that we can appreciate how important this film was and is. The way it meets so many still controversial social issues head on was very courageous. Hopefully "Paris Blues" will eventually attain the respect it so richly deserves.One of my favorite movies featuring 2 of the greatest actors of their generation.

I would say that you should buy PARIS BLUES BLURAY for the wonderful music and the breath-taking scenery of Paris.The story is one of the first that had me wishing the two couples did NOT end up together which is odd because normally one wants to see "love conquer all," but not in this movie.Diahann Carroll and Joanne Woodward play "Connie Lampson" and "Lillian Corning" two American tourists vacationing in Paris when they run into Paul Newman and Sidney Poitier two musicians named "Ram Bowen" and "Eddie Cook" who work in a jazz nightclub. The two couples fall in love, but as the story progresses, one really starts to wish they would break up. Louis Armstrong has a bit part playing "Wildman Moore" and there's a wonderful scene where he comes into the jazz club with his band, and the whole thing turns into a big jam session.This movie must have been very risqué back in 1961 because Woodward's character hits the sack with Newman's character about 7-hours after they first meet, which I know had to have raised some eyebrows back then.Anyway, I only give 4-stars because the only special is a trailer that has audio issues. It would've been nice to have some featurettes about the music, which was done by Duke Ellington, or the filming on location in Paris, beautiful location shots, because I would've liked to know more about these behind-the-scenes nuggets. But nothing was given.

It's a Paul Newman and Joanne Woodward film. as a Jazz film it's good,but there is a romance in it as well, and that's not quite as good. so the starsas 2 white people and 2 black stars they have a not good time of it and it seemsold fashioned. Maybe if it was made these days maybe Paul Newman would justromance the black woman, and Joanne the black man.

Unusual roles for Newman and Poitier but for anyone who hasn't seen it it's worth a look. Captures the scruffiness Left Bank well and makes it look real. I enjoyed it.

Enjoyable

I enjoyed this Blu Ray set in Paris with a handful of known jazz greats appearing. I recommend it.

Set in the racially relaxed jazz scene in Paris in the early 1960s, this bittersweet Martin Ritt film focuses on two American Jazz musicians (Paul Newman, Sidney Poitier) living and working in Paris who encounter two American girls (Joanne Woodward, Diahann Carroll) on vacation. Romance ensues but with complications. Shot in handsome black and white by the great French cinematographer Christian Matras (EARRINGS OF MADAME DE ..., GRAND ILLUSION), director Ritt does a good job of recreating the feverish, smoky environs of the jazz scene as well as the carefree yet intense existence of the creative expatriate. The actual romantic entanglements aren't nearly as colorful. Newman is an old hand at this kind of role, the nonconformist with a touch of the heel (HUD, THE HUSTLER) but Poitier makes for a fine contrast as the decent black man living in Europe to avoid the racism of America. The score, by Duke Ellington, is authentic. With Serge Reggiani, Barbara Laage, Marie Versini and in a rare acting role, the great Louis Armstrong whose jam session is the highlight of the film.The British import (it's not available in the U.S. at this time) via Optimum Classics is a crisp B&W print modestly letterboxed at 1.66:1, non anamorphic.