A Review of Blue Like Jazz - the Movie

Let me say first that I am a big fan of Donald Miller’s writing. Years ago I innocently read his Prayer and the Art of Volkswagen Maintenance (later to be rereleased as Through Painted Deserts). I was enchanted with his storytelling craft, but was unaware at that time of the spiritual depth that would permeate his later works. When I read Blue Like Jazz I was hooked. Miller’s writing spoke directly to so many things I was thinking about at the time, and his engaging, humorous and warmhearted writing style made it all so enjoyable.

I didn’t have the good fortune to be a part of the kickstarter.com funding campaign that saved the movie from extinction in mid-production, but I was amazed at the grassroots response that revealed such a broad audience of folks who really wanted to see this movie materialize. Since then I’ve followed the groundswell of blogs, tweets and facebook pages building to the film’s release date. I reread the book verison a week ago to prepare myself to fully engage with the movie; I also read A Million Miles in a Thousand Years, Miller’s memoir of the process of translating Blue Like Jazz from book to movie.

I was struck with how daunting a task it must be to turn a movie into a book, particularly a book of non-fiction. Converting fiction from book to screen is difficult enough; creating a [somewhat] fictional story to tell a nonfiction memoir can be much more complex. Screenwriting, directing, and editing all require decisions as to “what to leave out.” In addition, everything that stays in the movie (whether taken from the book directly, or, as in the case with many of this movie’s events, created specifically for the screen) will be scrutinized: it is important? Is is believable? Did they choose the right parts to keep or toss? Did the movie pace like the book? Better, worse?

A few weeks ago I read The Hunger Games, and went to see the movie immediately after. Though I won’t review that movie, in my opinion it is a wonderful adaptation of book for the screen. I felt that Director Gary Ross and the screenwriting team did a terrific job of showing some events, hinting at others, and omitting some as well. It is an extraordinary artistic endeavor, and that particular movie came through with flying colors. (I felt the same way about many—but not all—of the screen versions of Tom Clancy and John Grisham movies).

So, how does Blue Like Jazz play at the theater? I saw the film twice over the opening weekend, and I would say that it played very well. The movie faithfully reproduces the spirit of the book. It is clear throughout the movie that there are battles being waged in the mind of the central character—it’s not muddied, confused, or badly-told, but clearly communicated. He has been raised in a modern (and particularly western-evangelical) Christian subculture and has a crisis in his faith, based upon the occurrence of real-life events that don’t fit his understanding of God and the church. In response, he flees to a secular and extremely liberal college to figure life out.

An interesting and varied palette of characters populates the movie. The central character of Don, played by Marshall Allman, is very appealing, and one that many will identify with. I wondered if his smile and appeal might have served to obscure some of the confusion and disenchantment his lines described; perhaps a bit more angst might have been communicated. Having said that, the character was extremely likeable. I could have enjoyed a friendship with him in my college days, and indeed remember many folks like him: young, a bit confused, wanting to be liked, and trying to fit in but not sure how.

Penny (Claire Holt) was my favorite character in the movie after my first viewing. Her cause-driven life was genuinely portrayed, and she successfully conveyed the emotions that came with her care of those less fortunate. And her revelation of her own inward spirituality was sincere and believable. After the second viewing I began to see her a bit differently, more distant and judgmental, lacking in compassion for those around her while showing immense care for the poor a half a world away.

Lauryn (Tania Raymonde) was much more extreme and over the top than her literary counterpart, and added energy and conflict to the story arc. Her character and “The Pope” (Justin Welborn) were my favorites after the second viewing. The rest of the characters, though not necessarily saying and doing the same things as in the book, continued to propel the story forward as we sympathize with Don and his search for meaning.

Some of the creative license shown in the adaptation was very clever. Without spoiling the movie, I particularly enjoyed the appearance of Donald’s father (Eric Lange) and all the plot devices that his appearance served; and the ending scene (in my opinion, the strongest in the movie) a significant confession scene from the book is reimagined in a way that really brings clarity and finality to the story.

The overall tone and story arc of the movie was very interesting and engaging, although I felt it was a bit uneven. Some aspects of the college lifestyle at Reed were a bit more graphic than some might expect; I am sure that director Steven Taylor went all-in as he tried for realism, and avoided the sanitized view of life that so often accompanies (and drives) other films made from a Christian perspective. Ironically, some Christians may be more offended by scenes in this movie than non-Christians.

I tend to enjoy movies set in a collegiate environment; The Social Network, The Sure Thing, Oxford Blues, Chariots of Fire (though a much different film), 21, and Rudy, and even comedies like Legally Blonde and Back to School. I love the energy, the intellectual exchange, the clash of cultures, and the loss and subsequent discovery (or recovery) of individual identity that often does occur in this stage of life. Blue Like Jazz is no different—the depiction of campus life in settings of classroom, library, dorm and public square are full of energy and ring with the reckless abandon that characterizes young people who suddenly find themselves without parental supervision and choose to make the most of it.

Some Christian websites have lightly criticized the movie for not handling the topics of sin, Christ’s death and resurrection, and redemption more fully. Here I would remind them that Blue Like Jazz is a movie, not a work of apologetic argument. Art suggests; prose and logical argument attempt to fully explain. It seems to me that a movie (or, for that matter, a book) such as Blue Like Jazz never professes to explain the gospel fully, nor attempt to close the intellectual deal with its viewers or readers. It merely attempts to paint a picture of the high-stakes venue in which faith is born, lost, and rediscovered. For a clearer, point-by-point delineation of the story of Christ’s death and resurrection, there are better sources; this work is for those folks who show interest in going down the road of spiritual exploration but aren't sure how to start.

I believe that many college and post-collegiate people searching for God will find the movie enlightening and helpful; the conversations started by this movie will no doubt continue in coffee shops and taverns everywhere. And I’m sure that’s exactly what Donald Miller, Steve Taylor and the rest of the team hope does happen. In our current culture the deeper topics of theology, meaning, and one’s place in life are often best discovered in the dialogue of community amidst the greatest challenges to our faith, as is Don's experience in Blue Like Jazz.