Review
RATED: PG-13
STUDIO: RUCKUS FILMS
RELEASE DATE: APRIL 13, 2012
I’m good at laying my cards on the table, so I will do so right now. I didn’t like the book. I generally don’t find Donald Miller’s writing very compelling, save for Searching for God Knows What. That said, I loved Blue Like Jazz.
Beginning with a surreal (albeit) poorly paced opening of Donald Miller, played with reserve by Marshall Allman, Blue Like Jazz knows exactly where it needs to go. The film starts in Texas, at a fundamentalist church where Miller is content to simply exist without much rigorous thought. When a familial incident, Miller’s perfect life is upended and he runs away into the godless Northwest United States to Reed College, where he experiences drinking, drugs, bi-curious girls and social justice. But, he cannot escape his background, or the Deity that seems to follow him.
Blue Like Jazz does not equate itself to being a Christian film. This does not suggest that Christians are not involved or that there is any lack of Christian themes in Blue Like Jazz, but the nature of the film is not sermonizing. Don’s encounters with various students, from a dude dressed in a Pope outfit to a girl involved in Christo-centric social justice, showcase the turmoil of a man caught in the whirlpool of messy, post-conservative Christianity in a staunchly secular and hurting world.
I’ll confess, I found this to be quite accurate in relation to my own spiritual journey. Having a personal conversation about God at midnight with an agnostic dressed as a beer can comes to mind. Blue Like Jazz touches on this sort of almost transcendental interaction, but also the failure of the church. Not in that the church, as a whole, has failed; rather, in the lives of some people pursuing truth, the church is very capable of providing invisible walls to run into. Blue Like Jazz is honest enough to not avoid the walls, but to show that they can be overcome. We see this in pastors, scholars and parents, both in reality and in this film. Blue Like Jazz never harshly condemns, but rather shows the linger effects of blind trust.
The style of the film is reminiscent of Garden State, with abstract shots of astronauts in space and on earth. Director Steve Taylor, through his use of music and tone, manages to create a genuinely idiosyncratic film. However, the biggest fault of the film is the pacing, with the introduction running far too long. Not much in the way of character development, though there are attempts, until Don packs his bags for college. Once that picks up, the pacing picks up, but there are still instances that bring the film to a grinding halt. Like Don and Pope placing a giant condom on the church steeple. Funny. Necessary in regards to a certain character. But it takes far too long to set up and execute.
Blue Like Jazz is a quirky little film that is filled with honest questions and a genuinely humble ending that is as far from an alter call as one can imagine. However, the ending is far more impactful and quiet than I anticipated, leaving me lost in thought for a long time. For a documentary that more actively engages with the idea, check out “Lord, Save Us From Your Followers.” Its on Netflix instant.
In many ways, the silence and subtle shift of perspective is far more powerful than an alter call. This is where Blue Like Jazz excels. The point of it is not atonement theory or proclaiming systematic theology. This is not Wayne Grudem or Thomas Oden. This isn’t even really Rob Bell or Tony Jones. In some ways, I saw a little N.T. Wright in there. However, the point overall seems to be more towards simply living as one ought to live in order for the gospel to bloom. People see the good deeds other do, and they want to know why. The point is living gospel. Helping the poor. Listening to our enemies. Empathizing with other people’s failures.
Possible spoiler:
Don’s final comments about being “ashamed of Jesus” got some Christian’s feathers ruffled. However, the context is powerful in that Don is confessing to a person who suffered sexual abuse at the hands of a powerful man of God. being “ashamed” is actually the most telling sign of a truly repentant heart. Shame and guilt often showcase our fears and our reaction in tune with the Spirit. Allowing God to move in most mysterious ways.
End possible spoiler.
I’m ashamed of Jesus in that I constantly fail to live up to his perfect example. I’m ashamed of my own failure and the failure of those that profess belief in the same God I love. And that is the pinnacle of Blue Like Jazz. It recognizes the failure of humanity in response to the cross, and the example put forth by both king and servant, Jesus.
The gospel reigns in Blue Like Jazz.
I was able to see this movie during the screening tour and I loved it. You managed to give voice to what I was thinking and feeling but was unable to find words to express. I loved the message, but was frustrated with the pacing. I feel like I was a bit lost on the astronaut and rabbit parts as I did not read the book until after I watched the movie (shame, shame). Overall, though, I was left with a good feeling and a tear-stained face. This movie was not only good at invoking an emotional response in it’s viewers, but leaving them with thoughts to digest on the way home. All that to say, excellent review, Nick!
Nice review Nick. I agree with much of what you said. This film is a step in the right direction for “Christan” movies.
Out of curiosity (regarding Miller’s writing), what did you find NOT compelling about Blue Like Jazz and what did you like about Searching For God Knows What? They are two different types of books but they seem like they go hand-in-hand as far as subject matter and audience.
Hey Mike.
I thought BLJ was very often inconsistent and, frankly, boring. The writing rambled on and much of what Miller said simply had been said before, at least in my mind. His writing style, in this book, seemed surface level. This is not to suggest he doesn’t have talent because he does.
SFGKW instead had an air of consistency and progress throughout, on top of Miller’s grappling with harder questions. The various nature of his stream-of-thought seemed far more honed and perfected. His treatments of Eden had a profound effect on me, and caused me to grapple more with my own thoughts.
Maybe it is because, in general, I’ve gone through my own BLJ journey, so I’ve already lived it. If that makes sense.
Thanks for the comment.
–Nick
blogger/writer/blah.
Mike,
For me, I still think Searching For God Knows What is Miller’s best writing, to date. The way I generally characterize the difference is the idea that BLJ was more “stream of consciousness/stream of thought” in terms of writing style. I felt like I was drifting all over the place and never really landed anywhere. Maybe that was the point. But, for a non-fiction title, that is really difficult to deal with. It’s not poetry, it’s prose. However, in Searching For God Knows What, I really felt like Miller captured the same voice as he did in BLJ, but was far more cohesive in regards to communicating various thoughts. Things tied together and made sense. I was able to latch on to logical constructs and take something away for it. I may be in the small minority. BLJ continues to be his best-selling book and people resonated enough with it for it to be turned into a motion picture. But, that may also have something to do with bandwagon fandom. There is a vast difference between what is popular and what is the best. People will argue that Michael Crichton’s Jurassic Park was the best because it was his most popular. I would argue that its a toss up between Timeframe and Sphere. But, that’s just me. Does that make sense?