“This is a 27-year labor of love,” Tyler Perry told a New York audience before a special screening of his new period drama,爵士乐的蓝调, Thursday evening at the Paris Theater. The event was hosted byNetflix，现在正在流媒体。

佩里（Perry）刚刚开始进行14个小时的压力，但仍在弹跳。他很高兴向纽约观众展示自己的激情项目，他说他会得到诚实，真实的反应。

佩里说：“我有些悲伤和悲伤，但有一大堆快乐的喜悦”在“挂在这么长的时间上，最后将其呈现给世界”。

The film is intensely personal to the writer, director, producer, and studio head: it is a return to his first screenplay. Tyler made his fame and fortune by creating and expanding space for Black stories and talent. The Madea franchise helped him create his 330-acre studio, which bears his name, and where “A Jazzman’s Blues” was shot. He needed to create his empire before he could take a chance on a period piece.

他希望观众能从这部电影中脱颖而出：

“艺术应该是艺术家所表达的一切以及任何人带来的东西。因此，这是我的希望 - 我必须有一个 - 您会感到有些动摇您的东西，这会激发您的灵感。在我等待讲故事的27年中，谢谢Netflix，感谢这个令人难以置信的演员，并感谢所有人都在这里。享受。”

“A Jazzman’s Blues” is about star-crossed lovers Bayou (约书亚·布恩（Joshua Boone）) and Leanne (Solea Pfeiffer), who fall for each other as teenagers in 1937 rural Georgia. Outsiders even in their own tight community, recognize in each other kindred spirits. Both suffer from personal traumas and abusive home situations. At nightly clandestine meetings, they talk for hours, pouring out their hearts. Leanne teaches Bayou how to read. He sings to her. She tells him he’s talented. They also tease and flirt. Gradually they fall in love and decide to run off and marry. When Leanne’s avaricious mother (Lana Young) gets wind of their plan, she violently snatches Leanne away. She’s bent on passing her daughter off as white and marrying her to the son of a rich Caucasian family. (A deception that would mean death for both if uncovered.)

Bayou分开了多年，仍然带有火炬。他写信给Leanne，她的母亲拦截和摧毁了。但是后来的一次机会遭遇重新点燃了火焰。到那时，Leanne已与一个富裕的白人结婚，Bayou在只有芝加哥夜总会的一家精美的白人唱歌中成功演唱。尽管面临危险，但他们无法分开。自莎士比亚时代以来，星际婚姻的恋人并没有幸福的结局。加上吉姆·克罗（Jim Crow South）的种族主义恐怖，对这对夫妇的看法看起来很奇怪，观众现在爱上了他们。

佩里（Perry）有才能推出新的人才，后来成为A-list明星。Boone和Pfeiffer都根源在剧院中，完全体现了自己的角色，并在屏幕上发光。Pfeiffer首次亮相她的屏幕，扮演了一个棘手的角色，她并不总是很讨人喜欢。布恩具有超凡魅力，有着华丽的歌声。我每次不在屏幕上都想念他。

音乐是另一个亮点。1940年代流行的布鲁斯数字的精彩安排长期以来是长期的Spike Lee合作者Terrence Blanchard。而且，在传奇的黛比·艾伦（Debbie Allen）所期望的那样，在南部的Juke Joints和Chicago Dance Halls中设置的绝妙舞蹈场景非常出色。音乐插曲非常棒，佩里应该考虑执导百老汇音乐剧。

放映后，佩里（Perry）和电影的明星 - 布恩（Boone），菲佛（Pfeiffer），年轻，阿米拉·范恩（Amirah Vann）和奥斯汀·斯科特（Austin Scott）—participated in a Q&A.

当被问及他写剧本时，他是否允许自己做梦，有一天他会建立一个媒体帝国时，佩里回答：

“这是27年前不可能的。那时我会尽我所能。曝光可以帮助您梦想更大，对吗？这比我想象的要大。然后有一段时间您必须投降，然后说：“好吧，我不知道明天会带来什么，所以那是上帝接管梦的时候。”

Perry said when he wrote the screenplay he wanted to play Bayou. He wanted to castHalle Berry正如莱恩（Leanne）所设想的那样丹泽尔·华盛顿和霍华德·罗林斯（Howard Rollins）担任其他铅角色。

“I had this whole vision in my head. Time, life, the journey, getting old, all of that stuff changes all those things, so I had to find a new young cast.”

至于为什么要花27年才能进入屏幕：

“我总是在好莱坞说白人，如果他们有失败，他们可能会有更多机会。但是，如果您在好莱坞的黑人，您会得到一两个，那将是一段时间。就是那样子。如果您查看纯数字和统计数据，您就会知道我在说什么。就是这样吧？所以我知道我无法在一个时期里抓住机会。我不得不去做有效的事情。有效的是玛达（Madea），广泛的叙事，大笑……（Madea）帮助建立和巩固了我要去的地方，将我的脚牢牢地放在我的工作室里，建立了这个世界。现在我可以做我一直想做的事情。”

Tyler Perry’s films have been critic-proof. Slammed by critics, mainly white, for a lack of artistry, he famously doesn’t read reviews anymore. The moderator noted the positive reviews for “A Jazzman’s Blues” and heard that Oprah called him personally just to read one. What did she say?:

“She’s just like, ”Hey, did you see the Variety review? You need to read it.’ I’m like, ‘No, I’ve been busy… I ain’t going to read it.’ ‘No, you really need to read this one … No no, no, no, I’m going to read it to you.’ When she read the review to me, she got so emotional halfway through when she was talking about Joshua and the performances and what they were saying in the movie and everything. And because she’s always just been a champion of mine, and to have her hear that from other people, what she’s already felt and already known all those years, was really, really moving, and inspiring. I’m grateful for that… But I still won’t read reviews.”