Django
⋆⋆½ out of four stars
Rated: Unrated. In English and subtitled French, German and Romany.
Theater: St. Anthony Main.
"Django," a significantly fictionalized portrait of pioneering jazz guitarist Django Reinhardt, introduces its protagonist with a showman's flourish. The first time this Belgian-born Romany musician performs on-screen, the camera shows actor Reda Kateb from the back — creating a moment of suspense about whether he will be able to mimic Reinhardt's kinetic strumming. He does, though music is hardly the film's focus.
Directed by Étienne Comar (a screenwriter and producer on the acclaimed "Of Gods and Men"), the film confines itself to a narrow period during World War II, when Reinhardt enjoyed incongruous success. Reinhardt, as a Gypsy, offended Nazi ideas about racial purity, and Joseph Goebbels, Hitler's propaganda minister, condemned jazz as a genre. Yet Germans in occupied Paris loved to hear Reinhardt play. In the film we see Nazis bark orders about the maximum length of solos and the appropriate percentage of syncopation. Reinhardt slyly flouts the rules.
Much of the movie deals with Reinhardt's life in France, from where he hoped to escape to Switzerland with his family. At an encampment in France, he plays music alongside fellow Romany people who regard him as a hero.
Taking great artistic license with Reinhardt's life story, Comar contrives a mistress with a heart of gold (Cécile de France) and a plan for Reinhardt to distract the swing-dancing Germans with a concert. The finale enlivens an otherwise staid biopic, but whether the film has earned a moment of uplift is unclear.
BEN KENIGSBERG, New York Times