The film is shot to look like somewhat of a documentary (so it feels a bit like Zelig or Broadway Danny Rose). Allen skillfully blends accounts of Ray’s life with interviews from a panel of jazz aficionados, including himself, Ben Duncan, syndicated columnist and author of The Jazz Life Nat Hentoff, and filmmaker Douglas McGrath (Emma), who also co-wrote Allen’s Bullets Over Broadway. We learn from these experts that Ray is cocky, abrasive and brutally honest almost to a fault. In other words, he thinks he hung the moon, referring to himself as the world’s second greatest jazz guitar player – second only to Django Rhinehart, whom Ray calls a French gypsy. He actually idolizes Rhinehart, passing out the only two times he laid eyes on the six-string legend.

A gifted instrumentalist with a blistering playing style, Ray works the white clubs of Chicago with a white band before heading to the other side of the tracks and jamming with black musicians. He hangs out with hobos and loves to watch trains and shoot rats at the dump. Ray is also a pimp, a kleptomaniac and a drunk, which, together with his prickly demeanor, leaves the prodigy in many a pickle both with his career and love life.

Things change when Ray meets a mute girl named Hattie (Samantha Morton, Dreaming of Joseph Lees) that he is set up with as part of a double date with a fellow musician. Ray immediately dislikes the sweet Hattie and treats her like a leper, but still he brags about his significance, constantly reminding her that he is the world’s second-best guitar player, or one of the five best 9-ball players, or one of the top six poker players ever. Whatever the situation is (save one), he’s the best. He begins a relationship with Hattie, but eventually dumps her for the more glamorous Blanche (Uma Thurman, The Avengers).

Penn is fantastic as Ray – a great role for a great actor – but even he is overshadowed by Morton’s wonderful, wordless performance as the mute Hattie. Allen’s regular production team is back here to create yet another top-notch picture with a lovely score from Dick Hyman. One change to the mix is the addition of cinematographer Fei Zhao (Raise the Red Lantern) who, despite not being able to speak English, was able to glowingly lense the film. With this comedic effort, Allen yet again proves that he is one of the most creative writer/directors in the world.

1:35 - for adult language, sexual content and some alcohol and substance abuse