“Big Star: Nothing Can Hurt Me”, the Cursed Band

Big Star: Nothing Can Hurt Me
Beefeater In-Edit 2013, Chapter I

Before June 1st of 2011, Big Star was a band always pending to discover because R.E.M., my heroes, were always praising them. But on that date two years ago, the Big Star's Third tribute concert at Primavera Sound 2012 in Barcelona was an unforgettable moment for me, simply being one of the most touching music experiences of my life. Truth be told, the main reason I went to the show was Mike Mills' playing among the guest starts, but the night was so memorable I still got goosebumps when I remember. Since then I've been trying to get into Big Star's music, so no question I was eager to watch this documentary.

Having said that, I don't consider myself a fan yet, and that might explain why, although "Nothing Can Hurt Me" is a highly recommendable rockumentary, I would say it's only a must for hardcore fans. There's an undeniable feeling you are in front of a very peculiar group and a unique story... but not exactly thanks to the film achievements. Allow me to explain.

The film is a caring chronicle of the Memphis' group ill-fated path and its recurrent struggle with success or popularity in the early 70s. Big Star's tale is the epitome of the cult band: loved by critics and fellow musicians, but remaining out of focus from popularity. Sure, it makes no sense, Ardent and Stax Records are sure to blame... but it's not surprising or extremely meaningful. The band's bad luck with his three records, distribution issues and lack of air playing is not that interesting for the occasional listener or the non-fan.

Being honest, I don't how co-directors Drew DeNicola and Olivia Mori could have solved the obvious obstacles they faced doing this film. The factor of the "absence" of the two band leaders on the film is crucial. There's no Chris Bell and no Alex Chilton on camera. All their story, within the band, after the first left, and finally after the combo disbanded in 1974 is reconstructed. The band's tragedy, crystallised on its two key members, can only be recreated by the filmmakers. Add another issue, which is, of course, the fact there's almost no footage of the band performing live. That makes the movie absolutely dependable on cool but a bit tiring visual compositions and a vast amount of opinions from the many people interviewed, harming the overall rhythm of a considerably lengthy film (close to two hours).

Not to criticise the opinions and remarks of the people interacting on the film. On the contrary, that's what makes "Nothing Can Hurt Me" worth watching, and at times, unforgettable. They are the best example of how deeply the songs of Big Star have touched many hearts and souls, in a way that to me (I've seen a lot of documentaries) is hard to compare. As the film develops you'll see an spectacular constellation of musicians, critics and industry-related folks showing a genuine love, even devotion (Mitch Easter, for example) for the cursed band. Some will get close to tears, impossible to hide how affected they still are by the tunes. Others are just striking for the viewer (family, close friends) with lone surviving band member Jody Stephens topping my "personal list". So human and compelling. That's why Big Star is a mythical band. Heartfelt rockumentary, despite the shortcomings. It couldn't be any other way with Big Star.

SCORE: 6,5/10

The Indie Anthology 13: essential songs

Back with the Anthology after Primavera Sound 2012, but the first song is still directly related with the Festival. It's a song to pay my modest and particular homage to the best concert I saw at Primavera, and one of the most special I've been part of in my whole life (so far). Needless to say, the song is an absolute classic. And the "open door" for a newcomer into the world of this criminally underrated and mythical band.

Song: September Gurls
Artist: Big Star
Year: 1974

It was unique from start to finish. Big Star's Third, the tribute seen at Primavera Sound, was the best example one could use to show everyone why music matters. Extraordinary musicians willing and thrilled to be part of the event. You could see it in their faces, gestures, happiness and concentration in their expressions. Why such an impressive indie cast wanted to homage Big Star with such a combination of respect and joy? What do the songs of these forgotten band have? A genuine passion, adopting different forms: from the sweetly gorgeous to the poignantly ragged. Tenderness and desperation encapsulated in stunning power-pop/pop-rock "pills", as confessional and revealing as powerful and uplifting. I'm just discovering Alex Chilton's music but I'm already haunted."September Gurls", their most famous tune, summarizes Big Star's magic, and it was the mandatory end of an incredible night (bonus points it was sung by one of my heroes, R.E.M.'s Mike Mills). Welcome, Big Star.

"Beginners", love, loss and discovery

Beginners

In this special effects and animation films era, it is so refreshing to see a movie where actors and screenplay are the most important, and where characters are so well constructed and developed. Where there's time to see their evolution and their emotions on screen. And where these emotions connect with you. "Beginners" is that kind of movie.

This is a film about love, loss and discovery. We have two love stories, one between a father and son, Hal and Oliver, the other one between a couple, Oliver and Anna. We have a countdown to Hal's death. And the discovery of two identities: Hal's, hidden during decades, but finally free to express, and Oliver's, that learns how to break his own barriers and let himself be loved, thanks to his father's life lesson as he approaches to his end.
  
The stories are interdependent and thanks to a back and forth time structure that feels completely natural, they complement each other. It's more than that, they need to collide to let Oliver live his life, understanding his past and his family, and understanding himself, overcoming the grief and his fear. Yes, you might be thinking you have all the ingredients for a sappy drama, but you are wrong. As I  said before, that is thanks to the actors and screenplay, both stunning. First things first.

Three actors in a state of grace, Ewan McGregor as Oliver, Mélanie Laurent as Anna, and Christopher Plummer as Hal, arguably giving the best performances of their respective careers, are responsible of inoculating flesh, blood and emotions to their roles. Melancholia, confusion and sadness are present, but just in a very human, very credible way. I admire how much director Mike Mills cared for his characters (seems there's quite a lot of his personal autobiography), a fact that it is translated into the film vividly. There's real charm and an unforced chemistry between them, something that arrives to the audience, making "Beginners" a pleasure to watch.

On the other hand, we have a creative screenplay, successful in bringing originality to a plot that could have been very predictable, as well as graceful fluidity, with many memorable, lasting scenes. Hard for me to remember a more charming scene than the party where Ana and Oliver met, or such a great dog (look at me, praising a movie with a dog, who would have guessed?). This movie is a puzzle with many pieces that are enjoyable on their own.   

I wouldn't point out many flaws, maybe the few weight of Oliver's mother when it seemed the contrary earlier in the film, and a lack of information on the Ana-Oliver love story towards the end, where to me Mills's skips one needed scene, and a little, not really important, indie/cool cliché in what regards to Oliver's job, a path that is not really explored afterwards and feels a bit pointless. But this are minor complaints. "Beginners" is a wonderfully haunting film, original, charming and affecting.

Don't miss it.

SCORE: 8/10