Alain Gomis’s film is a treasure trove of Thelonious Monk in performance and a revealing look at common documentary practices.
The premise of Alain Gomis’s “Rewind & Play” is as exciting as the film itself. While doing research for a fictional film about Thelonious Monk, Gomis gained access to the rushes—the unedited raw footage, including outtakes—for a documentary about Monk that had been made for French television. “Rewind & Play,” which opens Friday at, is an hour-long reëdit of this footage, much of it unreleased until now, and it’s a remarkable film at many levels.
There’s history—personal and musical—embedded in “Rewind & Play.” It furnishes the movie with its key moment, one that is mentioned in every review I’ve seen and that is so emblematic that Gomis uses its key phrase—“It’s not nice?”—as the film’s subtitle. The roots of that moment go back almost sixteen years.
In “Rewind & Play,” Gomis does more than reveal the discussion that didn’t see the light of day in 1970; he reveals the cinematic methods by which the fabricated and tailored view of Monk’s life and work were crafted. Not only does Renaud repeat questions to Monk in the hope of getting an answer crafted to his specifications, he also appears on camera alone, in Monk’s total absence, feigning the posing of a question and the listening to an answer.
Paradoxically, the fabrications that went into the making of “Jazz Portrait” have one fundamental merit: the bulk of the 1970 film shows Monk playing, and brilliantly. The punctuations by Renaud, though insignificant and nearly trivial in their content, are at least brief. Robin D. G. Kelley, in his 2009 biography of Monk , writes of “Jazz Portrait” that Monk “plays beautifully”; he also adds, “the camera catches Thelonious smiling.
France Dernières Nouvelles, France Actualités
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