Everybody Digs Bill Evans review – absorbing delve into the tumultuous world of the great jazz man

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Grant Gee’s film thoroughly inhabits the creative and personal torment experienced by the American pianist – with a terrific supporting Bill Pullman turn

This elusive, ruminative and very absorbing movie presents its successive scenes like a sequence of unresolved chords carrying the listener on a journey without a destination – and is, incidentally, one of those rare films featuring a wonderful supporting turn that does not undermine or upstage the rest. It’s a film about music. Particularly, about what remains when a musician cannot play and is left to consider the terrible sacrifices made, without conscious consent, to this all-consuming vocation that creates family pain and jealousy almost as a toxic byproduct. It’s a drama to put you in mind of Glenn Gould and Hilary du Pré, sister of Jacqueline.

Screenwriter Mark O’Halloran has adapted the 2013 novel Intermission by Owen Martell about renowned jazz pianist Bill Evans. It focuses on a period of emotional devastation for Evans, when no music was possible – perhaps a restorative intermission, perhaps the start of a calamitous new aridity – when his close friend and bassist Scott LaFaro was killed in a car crash in his 20s.

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