Ornette: Made in America

An artist as singular as Ornette Coleman deserves an unconventional bio, and 1985's ORNETTE: MADE IN AMERICA would generally qualify.  Director Shirley Clarke, whose final final this was, was known for her experimental stylings, a Greenwich Village ambience that made her a favorite of the indie film world.  As of this writing I have not seen her earlier works.  From what I know of her background, it was unsurprising to see such a loose approach to a documentary.  This film is a real collage, and a real mixed bag, some of which I'd be happy to discard.  

The film is bookended by clips of Coleman's performance of his 1972 album Skies of America at the Fort Worth Convention Center.  The music utilizes a full symphony orchestra, occasionally pausing for the jazzer's trumpet and his three piece.  Ornette was well known for his unconventional chordal playing, often quite dissonant.  Easily designated as avant garde.  I've always been interested in his work, even when "getting into it" and even appreciating it was difficult.  Throughout the film various critics and colleagues offer their analysis of the music, much of which I agreed with.  This would comprise the standard "talking heads" documentary style of the movie.

Clarke also employs some jagged, quick editing that I found to be abrasive.  During one interview with Coleman, we see him bathed in neon lights which are given the illusion of flashing around him.  It was one of the most execrable pieces of film I've witnessed, and I had just seen NATIONAL LAMPOON'S MOVIE MADNESS a few days earlier, so take that as you will.  The effect, like many other crazy visual ideas in MADE IN AMERICA, attempt to mimic the frenzy of the music.  Can such a thing even work? Especially with an artist as unique as Ornette Coleman? I prefer to conjure my own, individualized imagery, which granted may be utterly ridiculous to someone else if it was visualized.  Music is such a personal experience.  Ornette, who elaborates on this and many other things here, would agree.

The oh so '80s musical video style of certain scenes was also a debit, especially when a cut-out of Ornette on an exercise bike flies across the screen.  ORNETTE: MADE IN AMERICA works best when taking a less freeform, yet still artistic method, as when we see and hear about the musician's rather dire experiences in trying to renovate an old school on the Lower East Side into a lab for artists. There is stark imagery that I would feel is more appropriate for the likes of Ornette Coleman.

Also questionable are the recreations of Coleman's childhood with a young actor.  We hear recollections of other portions of his life in this movie, and that would suit this.  But if you're a fan, there's enough music and interesting discourse to make this worthwhile.