"Phil Spector", Wall of Muted Sound

Phil Spector
It's quite strange. Being objective, "Phil Spector" doesn't have any big flaw. Good acting, a serious script, and a point of view that wants to offer something different, something more: a trial film no focused on the trial itself (something that would had been very dear to Hollywood), a drama without willing to "sell the drama" or win thanks to its impact, and a look to fame quite distant from the cliche-prone that celebrity biopics tend to be. But despite the remarkable virtues, the film is quite empty, lifeless.

Now go figure, the movie is about Phil Spector, a myth now in jail, a music producer legend transformed into the perfect example of an eccentric celebrity wasted away. What a potentially irresistible candy this could be in the hands of a greedy producer or/and an ambitious director. But that's not the case, prestigious director and writer David Mamet transforms a potential blockbuster into a radically unexpected proposal. A pretty obscure investigation/analysis of the clash between society and justice: was Spector convicted because a murder or because his fame and odd lifestyle?

And to show the dilemma Mamet delivers a script heavy on dialogues to two heavyweight actors: Helen Mirren and Al Pacino. To be honest, I was expecting nothing but another solid performance from Mirren and she doesn't disappoint in her role of defense attorney Linda Kenney Baden, but I was quite scared with Pacino, thinking that with such an eccentric and extreme character he could create another abomination like his Tony Montana (sorry Brian de Palma fans, not my cup of tea, to be polite), grotesque and annoying. But on the contrary, Pacino's Spector seems real, the rage episodes balancing admirably with the fragile looks of a wasted old man. Frustration and ego dramatically colliding on a person that really believes he should be treated like the legend he is.

Indeed, the elements are there, but the movie never really grabs you. It's a very cold movie, probably too analytic and little rewarding for the viewer. But aside from the emotional, then subjective, factors, the fact is "Spector" doesn't go further on the actual events of the case, there's zero detail about what went on court, which might be a brave or at least coherent move from Mamet. The director wanted to depict the relation between the music producer and his attorney while pointing out the "shadows" of a process too full of other elements than just the need to clarify if there was evidence enough to condemn Phil Spector as the murder of Lana Clarkson, but really ruins the whole point about the film. Once the trial begins, the film ends, so the spectator has the feeling the he has been watching the whole preparation of the trial just to be left without it. The way the whole thing concludes makes Mamet's proposal look biased and incomplete. This shouldn't be called "Phil Spector", but rather "The Phil Spector's defense preparations". That's enough to make a solid film? I have some serious doubts about it...

SCORE: 5,75/10

"End of the Century", punk, miseries & The Ramones

End of the Century: The Story of the Ramones

Almost two days after, I'm still shocked by this rockumentary. Honestly, it is hard to see a band so exposed, even more considering half of the band and core members (Joey and Dee Dee Ramone) died during the making of the film. But there's no hagiography here. On the contrary, what it shows, is a raw, very unpleasant picture of a mythical, very influential band.

"End of the Century" is a twisted story, helped by the an excellent work from directors Jim Fields and Michael Gramaglia, tracing the punk-rockers evolution with a mix between priceless archive footage and insight interviews with the band members and more occasional opinions of their contemporaries (Blondie, Joe Strummer) and later in time, fan musicians (John Frusciante, Rob Zombie, Kirk Hammett, to name a few). That could work for a very interesting yet conventional music documentary. But this film is much more. Precisely, what confirms is that The Ramones were not a conventional band at all.

"End of the Century" charts the course of The Ramones career. And it doesn't take a lot of time for the viewer to see the members of the band were very young kids when they formed The Ramones... and they never grew up. We start on the early '70s in the uncool Queens, moving quickly to the rise of the New York City music scene. They seem to be leading that rise, and that success is just around the corner, but here's the first clash. For a band of unpretentious bad musicians (as they openly admit), with a strong punk ethic, the lack of chart success deeply frustrates them. There are two poisoned remarks from Johnny Ramone, one against Blondie, the other on The Clash first album that reflects the inner pain. Their triumphs in South-America and London (where punk, that they arguably invented, collapsed the music scene) only make their return to the States harder.

As records go and cult status is solidly built but never reaching the desired commercial breakthrough, the problems arise. "End of the Century" doesn't hide them a bit. While the issue with legendary producer Phil Spector is bound to make you laugh (a great tale of rock's wild times) the internal conflicts are gripping, painful yet at the same time absorbing to watch. The personal interviews reveals each Ramone as a very complex character, and one wonders how it was possible the band did not explode much earlier. Ideological and personal confrontations, drug abuse, roles and powers within the band... One wonders why they decided to keep going for so long with so much s**t on them. How the hell they could maintain the interest on playing together while they hated each other so much? It's puzzling to me to wonder how Joey and Johnny (scary person) could get along for so long. Did it become a daily work, or a (obviously dysfunctional) family? Secondary/temporary members of the band like Tommy, Marky or C.J only add more pain to the whole picture. The Ramones, as a band were obviously greater than the very flawed (in some case disastrous) individuals. As the end of the documentary approaches (there's an obvious unbalance on the amount of film length the latter years of the band have, one of the few complaints I have on the film) even when the deserved world recognition finally arrives (Rock'n'Roll Hall of Fame induction) there's a unavoidable feeling of sadness. Did they, at least, enjoyed their careers? I doubt it.

Any fan of the band must see "End of the Century". Any music fan too. And any cinema lover, interested in human stories, with their conflicts and contradictions, should know they have an unmissable film to watch here.

SCORE: 8/10

Discoverer 13: new indie findings

Back with the Sunday proposals, for your ears only!

Widowspeak. This trio from Brooklyn started in spring of 2010, and after being signed by the (wise) Captured Tracks they have presented two 7" this year, showing their talents: a fascinating combination of guitar melodies from another time (50's,60's, 90's sophisticated pop) with the haunting dreamy voice of Molly Hamilton, somewhere between Anna-Lynne Williams (Trespassers William) and Hope Sandoval (Mazzy Star). Eager to hear their full length debut this summer. I feel this band is really special.
Gun Shy
Harsh Realm
Kids On A Crime Spree. You can always rely on Slumberland Records, so checking their new releases we found the project from veteran Californian Mario Hernandez (From Bubblegum to Sky), who became addicted to Phil Spector's wall of sound. Using old recording techniques to recreate that sound, he composed more than a hundred songs, selecting 8 for their debut album, "We Love You So Bad", released in May. An ultra-short but radiant collection of power-pop pills layered in full-of-reverb guitars, martial drumming and occasional indie-pop pure joy, like on the irresistible "Dead Ripe" (handclapping, yay!).
Dead Ripe.
Sweet Tooth
Saskatchewan. Little we know about this young band from Orlando, Florida. But what matters is that the three songs we have heard from them are stunning postcards of dreamy indie-pop, with "Nice Daze" and the wonderful "Dreamboat" (if it doesn't stick with you after 30 seconds you should probably go visit the doctor) destined to end on the best-of the year compilation lists. In a world with some musical taste, these would be the songs of the summer. More, we want more!
Dreamboat
Nice Daze