Sam Sellers (Ephraim Davis) is a private detective, and he’s just been hired for a job. A local saxophone player has gone missing–without a trace. There are no leads, and the other locals are little help. All Sam knows is that he must return in time to play That Terrible Jazz, and he’ll do all that he can to come through and save the day–and maybe even a man’s life.
What I often find in independent, low-budget films of this nature is that the actors present in the film tend to overact. They are so passionate about acting and the world of cinema that they end up putting a tad too much umph into their craft–resulting in things being too overly dramatic at times. This is not the case in That Terrible Jazz. Davis specifically is nearly perfect. He’s calm, cool, and collected throughout the film, allowing him to accurately deliver his lines and express to viewers the sentiment present in each and every scene. Sam is a unique character that appears almost void of emotion, allowing the emotion present in others to rise to the surface and be fully understood. Both the character and the actor deliver incredibly well, and viewers are exposed to a young talent that has all the makings of a star. I have certainly said before that some young, unestablished actors have a shot in the big leagues (and I meant it), but Davis appears to have everything needed to make it big, to lead a feature film, and to find success doing so. He’s wonderfully talented and possesses an aesthetic that aligns with what Hollywood is looking for.
The tagline beneath the film on YouTube reads “My attempt at film noir.” Not that I needed this bit of information, but this confirms exactly what writer-director Michael Falconi was attempting to create–and I believe that That Terrible Jazz exudes these ideas perfectly. From the opening moments it’s clear that That Terrible Jazz feels old-timey, pessimistic, and simplistic. As the story plays out the tone never changes and viewers are transported to a world where it appears that the hypothetical glass remains perpetually half empty. There’s little hope in this world, and the cast and crew behind That Terrible Jazz bring these sentiments to life.
If I’m being honest, the characters, the acting, and the nuances of the film are what attract me to That Terrible Jazz, not the storyline. I never become attracted to the story of the missing saxophone player, and whether or not Sam finds him doesn’t appeal to me in this setting. As I follow Sam and the other characters throughout their journey I focus almost entirely on those characters and the actors portraying them–along with the nuances of a film noir–and the story itself becomes an afterthought. This seems like a major issue for That Terrible Jazz, but the reality is that it doesn’t really affect the film at all. Even after understanding that the story means nothing to me, my appreciation for the film isn’t lessened.
That Terrible Jazz is Falconi’s shot at a film noir, and I truly believe that he hits the nail on the head. The entirety of the film is ominous and dark, and the actors convey this with great aplomb–pulling viewers into this twisted world of black and white. The story is almost pointless as it is Davis that leads the way through this tale, and he’s the primary reason why That Terrible Jazz finds success. I hope that this film paves the way for Davis’ future success, as he was very deliberate, appropriately energetic, and entertaining throughout the course of That Terrible Jazz.
Written & Directed by Mike Falconi.
Starring Ephraim Davis, Elizabeth Alksne, Timothy J. Cox, David A. Rodriguez, Jim Snyder, John Rifici, Thomas Schmitt, Bruce Clifford, & Gyasi Howard.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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