As opposed to being a dated period piece from 1984, Purple Rain is more like a time capsule from another planet. A truly ambitious film debut for funk ‘n rock star Prince, the success of both the film Purple Rain and its soundtrack helped send Prince’s career into another stratosphere. This kinda sorta autobiography of Prince’s early days playing at Minneapolis music venue First Avenue focuses on the struggles of the brooding and mopey musician as he tries to navigate his domestic abuse impulses and his love of frilly shirts. Though completely entertaining it’s actually maybe more depressing than the Eminem flick 8 Mile though not even close to the mental anguish that the Bjork film Dancer in the Dark can cause. At the time of release Purple Rain was a massive hit but it was also justly scorned for its misogynistic attitudes towards women. Luckily now the film feels so over the top that instead of being offensive it plays more like a glammed-out cartoon.
Prince plays “The Kid,” and though his band The Revolution seems to have a loyal following, the club owner (Billy Sparks) thinks they aren’t drawing the crowds they should be. He seems to side with The Kid’s chief rival, the zoot-suited Morris Day and his band The Time. He wants the Kid to stop doing that “one song shit” and making the kind of music that only he understands, or he’s going to be axed from the club’s roster. When a foxy new Russ Meyer-esqe babe, Apollonia shows up on the scene, The Kid woos her with motorcycle rides and by ogling her from behind his oversized sun glasses. Strangely he still lives with his parents, where his washed-up musician father (Clearance Williams III of...
Searching for Sugar Man
Like a real life Eddie & The Cruisers this British documentary by a Swedish director (Malik Bendjelloul) about a Detroit folk singer named Sixto Rodriguez who became an icon to a generation of white South Africans is both an in-search-of mystery and an inspirational tome to the power of music and survival. Searching for Sugar Man is another one of those documentaries that if it didn’t have “true story” stamped on it might be too crazy to believe. Not to mention that for someone my age to know that this person existed (and in my own childhood backyard of Detroit) and, like most of the world, am only now becoming aware of the stunning music that he created, it’s sad that Sixto Rodriguez's beautiful songs haven’t been on my heavy rotation all my life. But since seeing this movie they have become ingrained in my head and will never leave.
Coming out of nowhere for a handful of music business types in the late sixties, Mexican American Detroiter Sixto Rodriguez sounded like he could be the next big thing. He had a clear voice (that reminds me of Donovan) with sophisticated lyrics about love, heartbreak and socio-political ills in the Bob Dylan tradition. He recorded two albums and both were commercial flops. So Rodriguez (as he was known) went back to being an inner-city guitar-toting day laborer (and, of course, was screwed out of royalties for his songs). And that’s the end of that story. Or was it? Copies of the albums made their way into South Africa where they became massively popular to a generation of white Afrikaners who were coming of age and questioning the system of apartheid in which they grew up. A total police-state boxed-out from the rest of the world, South Africa was a little behind the times culturally and cut-off when it came to music information. The rebellion and loneliness in Rodriguez’s lyrics spoke to them. The rumor was that Rodriguez had dramatically killed himself on stage, putting an end to any kind of personal contact South Africans might have hoped to have with their idol. But the music lived on and came to define the decade for many.Continue Reading
Super Duper Alice Cooper
Finally a quintessential documentary on Alice Cooper, rock’s original shock master, titled appropriately enough, Super Duper Alice Cooper. Unlike the usual quickie music doc (Behind The Music, etc.), this is a film edited with style and a totally engaging visual flare similar to the wonderful Robert Evans doc The Kid Stays in the Picture, with those three-dimensional cut outs and old-timey film footage mixed in to help tell the story. And Cooper himself, an engaging story teller, narrates. Of course I’m the target audience; I had a couple of his records as a kid, I went to an Alice Cooper concert in Detroit when I was in middle school and I have nostalgic pangs that get me a little giddy when I see those '70s clips. But I’m also thrilled to report that I watched this with a woman who was born long after Cooper’s heyday who had little previous knowledge about him or interest, and she thoroughly enjoyed the movie, too. Again, stylishly and narratively it can satisfy the old-school fan and intrigue a newbie.
As told by the film, Cooper’s story is the usual "sickly kid dreams of more and beats the odds" ode. Born Vincent Furnier in Detroit, Cooper’s pastor father and mother moved him out West to Phoenix to help his extreme asthma. He grew up a churchgoing all-American type, but like many kids in the '60s inspired by The Beatles, their music (and spoofing the Fab Four at a school talent show) led to him and his buds forming a band. Even as a bunch of suburban squares they found some success in their hometown under the name The Spiders; later encouraged by a message from a ouija board they changed the name of the band to Alice Cooper (slowly Vincent would actually take on the name himself and later legally change it when he dumped his bandmates) and set out for hippie filled Los Angeles. In California they fell under the tutelage of super weirdo Frank Zappa and became the brother act to his all-girl band The GTO’s. Besides giving pointers on partying, the fashionable ladies also helped them update their look (with thrift store women’s Ice Capades costumes). Though they signed with manager Shep Gordon (a pot dealer, for whom managing music was just a side gig) they didn’t find the success they craved and were even jeered at for their growing onstage theatrics. The band took off for middle America, playing small gigs until they finally settled in Detroit, a working class city that liked to rock and appreciated a hard-hitting band with a strong work ethic. Playing alongside bands like The MC5 and The Stooges, it has been said that this garage rock scene was the beginning of Punk Music (and Johnny Lydon AKA Rotten, adds his voice to the narration later, giving credence to this by admitting what a big influence Cooper was on his band, The Sex Pistols). The Alice Cooper act grew more and more outrageous and when they got to open for John Lennon at a music festival in Toronto, an incident that led to a chicken being murdered made them famous. They eventually broke big with hits “I’m Eighteen and then “School’s Out”, but Cooper fell deeper into a dark hole of alcoholism and celebrity trappings. Finally he dumped his high school pals and went solo, where his shows became a sorta vaudeville horror act, complete with a boa constrictor, a guillotine and dancers. (He married a young pretty one.)Continue Reading
The Beatles Anthology
The Beatles Anthology is everything you need to know about The Beatles. For die-hard fan it seems to have a clip from almost every recorded performance of theirs. And for the casual fan it tells the Fab Four’s back-story and then that incredible run of music from ’63 to ’70, it’s such a huge story for only seven years of life. The three surviving Beatles - Paul McCartney, Ringo Starr, and George Harrison - are exhaustedly interviewed with very candid memories (Harrison passed away after this was made), and preexisting interviews with John Lennon are incorporated. Also of interest, adding to the conversation is their long time producer George Martin who seems to set the record straight when the boys are confused about a recording fact. It really is amazing that these four lads from modest backgrounds in Liverpool, England were able to have such a giant impact on popular culture all over the world and create some of the still greatest music in rock 'n roll history.
Originally airing on television, The Beatles Anthology was released in conjunction with a massive book and CD set covering the same ground. The documentary is told in eight episodes, each covering a year or two and each running over an hour, putting the whole thing at over ten hours long. Like a Ken Burns film (The Civil War, Baseball), it uses still photos and archival footage to set up The Beatles in their youth, but quickly jumps right into the formation of the band and their early career playing Hamburg nightspots. The first two episodes may be for the fanatics as there is a lot of rare material (recording demos and British television appearances) but by the end of Episode Two the Beatles have become a phenomenon in the UK. Then Episode Three begins with their famous landing at JFK and first appearance on The Ed Sullivan Show; their conquering of America is when things get really fun.Continue Reading
There is no greater cinematic seduction than that of black and white film. Something about the absence of color helps you tune into so many other things and lose yourself in the screen; the images seem so much more complete and the messages come through clearly. While this film is fairly short, I feel even more excited about the filmmaker's ability to eliminate fluff and find that the choice to make your point quickly will never go out of fashion. In fact, the movie reminded me of a sci-fi picture without the excess and flash. The most charming part about The Committee is that it is a confident work that flaunts only that sense of assured storytelling.
The movie is from the '60s and known mainly for its groovy/intellectual soundtrack by Pink Floyd, and for the fact that it attacks conformism and politics within societies. It opens with a quote on free will and Britain's collective position on both revolt and passive submission. It then moves on to a young man (Paul Jones) hitchhiking across woodlands who is picked up by a talkative egoist (Tom Kempinski). When the men stop to check on the car, the young man beheads the driver, then puts his head back on and leaves the scene. He returns to the city and his dull job as an architect and receives a summons to attend a committee. Rumor has spread that committees are complex gatherings in the country. As little as eight and as many as 300 people are gathered and separated into groups in order to be surveyed, tested, and probed. The idea behind it is to see how the majority of people approach issues as meaningless as fruit, to a game of chess. One might be isolated in the country for a week up to a month, and in the end, the data gathered will help those in power control and regulate society. You could then compare such a letter to the draft, only the war you wage is entirely in your head. For our protagonist, he is fighting the urge not to go along with the government's game by attending.Continue Reading
It’s called The Doors but director Oliver Stone’s hyper-bonkers bio of the band should have just been called Jim Morrison. Because the real show here is Val Kilmer’s brilliant performance as the self-destructive lead singer, while the rest of the guys--Ray Manzarek (Kyle MacLachlan), Robby Krieger (Frank Whaley) and John Densmore (Kevin Dillon)--spend most of the movie standing around scolding Jim and telling him to grow up. As usual, Stone hits his points with a sledge hammer, and Doorsaphiles may take issue with the actual facts. I mean, was Jim’s LSD-inspired obsession with an Indian shaman a Morrison or a Stone concoction? But that’s neither here nor there; like Stone’s greatest film, JFK (also released in ’91), in the end the actual facts don’t matter. What does matter is the incredible filmmaking skills on show here. From the camera work to the editing to the use of sound, Stone is in his element with his usual all-star crew at their most dizzying and superfluous. If Morrison was one of music’s most self-indulgent windbags--some love The Doors while others call them overrated--Stone is in a similar boat. The guy has won a couple Oscars and penned a couple kinda-classics (Midnight Express, Scarface) but often gets eye rolls when his name is mentioned. And that proves to be part of the beauty here; the excess of Morrison’s short life is perfect for Stone’s excess on film.
Though living members of The Doors at different points of production were consulted, in the end they all publicly disavowed the final movie, claiming Stone ignored their suggestions. So in Stone’s world, the story of The Doors goes something like this. Transplanted from a nice all-American, middle class childhood, Jim was a groovy, shirtless UCLA film student, influenced by Literature 101 (The Beats, Nietzsche, Rimbaud, etc.), making ridiculous overly arty student films. After discussing his coolness with a classmate, Manzarek, they decide to form a band. They add the less hip, but apparently talented Krieger and Densmore to the band and pretty quickly start to gain a rep on the Sunset Strip club scene for their rulebreaking improvised style. Jim, in full swagger, also stalks and then seduces a young flower child, Pamela Courson (Meg Ryan), and she becomes his old lady. The band navigates the swirling waters of the swinging sixties rock scene, having hit records, meeting Andy Warhol (Crispin Glover), dealing with police arrests and a general far-outness. Meanwhile the more successful they get, the more Jim alienates Pam and his band with his excessive egomania and drug and alcohol abuse, until he finally overdoses in Paris at the age of twenty seven, just after the publication of his poetry book.Continue Reading
The Filth & The Fury
“Because the work, at the end of the day, is what matters…and we managed to offend all the people we were f***ing fed up with.”
– Johnny RottenContinue Reading
The Punk Singer
Cults can be wonderful, as The Punk Singer—Sini Anderson’s admirably idolatrous celebration of punker Kathleen Hanna—makes clear. Hanna always inspired a devoted few and it never seemed to matter if her fundamentalist fervor, totally understandable hypocrisies, or bratty indifference to anything more politically nuanced than “Suck My Left One” made her look simplistic to outsiders who wondered what the fuss was about. Hanna’s fans did not care and honestly I salute them. As The Punk Singer makes clear, once the Riot Grrrl movement got national media attention and some stories were written that Hanna’s band Bikini Kill disapproved of they reacted with a media blackout. They stopped talking to journalists because it was assumed they couldn’t be trusted to “get it.” As one of her next band’s (Le Tigre) songs went: “It’s just a joke man; it’s just an interview. You wouldn’t get it; I guess this shit is too new.”
Well, yes and no. Though little is said about the punk front women who preceded the punk of The Punk Singer, there were tons! Where to begin? Ari Up, Poly Styrene—it would be useless to even attempt to cover those bases here. But suffice to say Hanna worshipped those women even if the film about her doesn’t credit them for blazing a trail for her to follow. Still, Hanna was undeniably captivating right from the start. She looked great and she made people uncomfortable which is a really good combination for anyone fronting a rock n’ roll band.Continue Reading
This is Spinal Tap
Although it has had a lot of competition since it was released in 1984, This is Spinal Tap still remains the greatest mockumentary, the best spoof on the rock music scene, and one of the funniest, most continually quotable flicks I’ve ever seen. This was the first film directed by Rob Reiner who, at the time, was primarily known for his role as Meathead on the legendary sitcom All in the Family. He would go on to have a mostly pedestrian directing career with a few stand-outs (Stand By Me). With This Is Spinal Tap, Reiner and his three costars - Michael McKean, Christopher Guest, Harry Shearer (all four of whom are the credited writers) - created something very special whose style has been copied many times over, especially by Guest himself. But nothing has hit it so far out of the park as this one did.
The mockumentary (a spoof of a documentary) was not new at the time. Though rather dull, David Holzman’s Diary was considered a landmark in 1967. Woody Allen made the now classic Take the Money and Run. There was that Beatles spoof, All You Need is Cash, and Albert Brooks foresaw the coming of reality TV with his Real Life. What makes This is Spinal Tap especially impressive is that it keeps the documentary format the entire film, something most other mockumentaries rarely sustain (including Guest’s later work). Most of the other films often cheat and have moments to try and help the plot along that couldn’t have been documented by a pesky camera crew. Every moment in This is Spinal Tap keeps the documentary format humming. By 1984 the ego-driven rockumentary had been a standard cash generator for most megabands (peaking in the seventies before the music video came to dominate the self-promotion machine). Going at least as far back as Bob Dylan’s Don’t Look Back in ’67 and the music festival docs Monterey Pop and Woodstock, it was really The Rolling Stones’ Cocksucker Blues and Led Zeppelin’s The Song Remains The Same that gave This is Spinal Tap its most potent fodder.Continue Reading
Voltaic: Paris, France
Not being a fan of most concert films I usually watch them with a large grain of salt. I tend to find myself let down. However, in the case of Bjork’s newest release, Voltaic, I found myself pleasantly surprised.
Voltaic has been released in various packaging. You can find it solo on CD, a CD/DVD package and a Limited Edition two CD/two DVD version as well. FANCY! I would highly recommend the Limited Edition package for the most Bjork for your buck. It contains the studio recording, the Volta mixes [featuring mixes by RATATAT, MODESELEKTOR and SIMIAN MOBILE DISCO], two concert films [Paris, France and Reykjavik, Iceland], and the Volta music videos.Continue Reading