"Let's Get Lost", the sad jazz of Chet Baker

Let's Get Lost
Beefeater In-Edit 2012, Chapter III

Our third film on this edition during the 10th edition of the Beefeater In-Edit Festival was a special challenge for me. I assume this would decrease my "hipsterism" or "coolness factor" to dramatic levels, but I don't get jazz. I won't lie. It bores me, sometimes even annoys me, and I don't think it works for me, not even as background music. That's why "Let's Get Lost", incredibly praised by movie critics (rated 2nd on the documentaries' best-of list) was a challenging proposal for me? Would I enjoy it?

The answer is yes and no. Mostly "yes", because Chet Baker's story is powerful and puzzling, and foremost, because director Bruce Weber seems to be always there, allowed to explore not just the most pleasant parts, basically that Baker was an outstanding talent, a one-in-a-million musician, but also showing that he wasn't precisely a lovely human being: liar, drug addict, not a very caring father, troublemaker, etc. It seemed to me that he was careless about life, and in some way a very sad character. Was he really able to connect with other human beings aside from his trumpet or voice? Weber had the courage of presenting the contradictions of the artist. Showing that behind the "cool cat" flair, there was a lot more to dig in.

"Let's Get Lost" show us Baker's "glory days" in abundance, becoming an icon (he was also good-looking, so success was granted), a reference for the youth in the 50's. He basically represented being cool. It's very interesting to see (its also pointed out by a few opinions) how jazz and particularly Chet Baker were "the alternative" in those days. But his "dark side" was also notorious, and Weber finds and seeks opinions enough to let the spectator get its own conclusions. In particular, there's a lot of attention and information regarding Baker's behaviour with his several women. They are one of the stand-outs of the film for sure.

But I also said "no" before. And that's due to the amount of footage that to me was gratuitous or overlong (as you can see I'm not referring to the songs played despite admitting I'm not into jazz). We have plenty of them, and I can only presume artistic intentions (many of them seems to recall Nouvelle Vague in the way they are filmed) that may embellish the film as a whole, giving it a dreamlike sensation. Ok, it may fit with the music, and even gives a poetic touch reconstructing some moments of Baker's life. But there should be some logic in the chaos, and sometimes is very hard to find it in the film. The opening scene on the beach, the cars at the amusement park, these recurring night walks joined by stunning ladies, the naked women book... I can understand the purpose was to reflect that Baker's life was almost surreal, a junkie (the end of the film is striking) living a parallel existence, one that Weber wants also to present, mixing, building what his memoirs, thoughts and experiences would have been along with not that beautiful reality. But it really harms the dynamic of the film. A length of 120 minutes was completely unnecessary. It also makes it a bit confusing and, sorry to say, pedantic.

Overall, it's an striking portrait of a deeply absorbing character, but also a blurred documentary that wouldn't qualify as really recommendable for many. Shame because "Let's Get Lost" could have really deserved all the praise received.

SCORE: 6,5/10

"I Am Trying to Break Your Heart", Wilco at the crossroads

I Am Trying to Break Your Heart. A Film About Wilco
Beefeater In-Edit 2012, Chapter II

The nice and great people of Beefeater In-Edit elaborated (collecting the opinions of "many experts") the 100 music documentaries best-of-list in occasion of its 10 birthday, including the top ten among the films that can be seen in this edition of the Festival. Needless to say, it was a great opportunity to enjoy some of them. I’m not a fan of Wilco, but its a band I’m quite curious about and I respect a lot, so their story in its hardest hour, their battle against music corporations, sounded pretty exciting to me.

Unfortunately, “I Am Trying to Break Your Heart” suffers, quite a lot, from “too high expectations”. Interesting and I assume, really addictive for Wilco fans thanks to the amount of live songs included, I have to say this is not the promised revealing take on a band struggling, internally and against their record label (Warner- Reprise Records). How to define it? The documentary is (hope that’s understandable) reflective. We don’t really see the band in these turbulent, tense times. We see the band (and manager Tony Margherita, plus other few people) telling us there was conflict and tension then. But that’s giving us their opinion, something that can be interesting, but its far from being the outstanding, unmissable documentary we expected.

That brings directly me to my other concern, or better said, main question: is this documentary controlled, approved by the band? The insight on the group seems quite biased, in my opinion. You spent a third of the movie length before any of the “issues” arise. There’s only one scene in which you can see the obvious tensions between Jay Bennett and Jeff Tweedy. Then there’s a little take on Tweedy doesn’t wanting to say much about it, and the rest of band showing their relief the former member was fired, while Bennett suggests a much bigger problem within the band. There’s only one phone conversation in which we can see the label and the band are going to crash. The rest is merely the thoughts and opinions of Tweedy and Co. (Margherita opinions are brutally biased, he’s a pretty annoying character I have to say). I expected a lot more on the clash between artist independence vs. commercial/music label greediness.

So what’s “I Am Trying to Break Your Heart” offering? A bit of the band on the studio creating Yankee Hotel Foxtrot, tones of live music (Tweedy alone & the full band) looking cool (surely will amaze fans), and just a little bit of what was supposed to be a very troubled period for Wilco. I can’t help but keep thinking director Sam Jones didn’t want to or wasn’t allowed to show us all the stuff he had. Maybe the band (or some members) wouldn’t look so heroic if he had shown us the whole picture? Being honest, after watching the documentary, my impression is that Wilco is Jeff Tweedy's band (look who signs the new contract). For the good, but also for the bad.

I think the most definitive comments on this film came from Rolling Stone’s journalist David Fricke (an opinion that, if you think about it, shouldn’t be particularly relevant for the development of the story) who establishes Yankee Hotel Foxtrot as a landmark within their time, because of its painful process of recording and then fighting against media monster corporations, but in particular due to the music, a creative attempt to challenge themselves musically. What Fricke says is that all that matters is the music. I guess he’s right with this documentary. Must-see for fans, but occasional Wilco listeners or people without a clue about the band might find it quite flat in terms of storytelling. So it will all depend on how much the music appeals you.

5,75/10

"Searching for Sugar Man", mystery, magic, music

Searching for Sugar Man
Beefeater In-Edit Festival 2012, chapter I

First of the five films of our selection at the Beefeater In-Edit 2012, and what a movie to start the Festival! Finally a film where what matters is the story that is trying to tell the spectators. And what a story! Incredible, shocking, mysterious, touching, musically very attractive... In a word, fascinating.

This is a documentary on a completely forgotten artist. Not even a side note on the page of the 70s' music history. Sixto Rodriguez, an unknown folk-rock singer/songwriter from Detroit (Mexican familiar origins) who released two albums in the early 1970s, "Cold Fact", and "Coming From Reality". Despite the quality of his music and lyrics, somewhere in between Bob Dylan and Nick Drake, he could not achieve any popularity, so he quickly vanished, retiring, unnoticed from music. We get opinions from his producers and critics, praising the artist and blaming his lack of success and being dropped by his record label.

To this point, "Searching for Sugar Man", would have been a nice music discovery, because the songs of Rodríguez deserve to be listened (so the research will be done) but not a very memorable film. But we quickly discover this is not the end of the story... On the contrary, is an unexpected beginning... Because while completely unknown in America, the guy was a phenomenon in South Africa, a massive success and a referential artist for many people in that country, the soundtrack of the fight against Apartheid by Afrikaners. For them, Rodríguez was a hero with little or zero information about. A mysterious legend who rumours said had a dramatic end.

How could that be? Why Rodríguez was never aware of his success? What about the terrible suicide? I won't spoil you the movie, so I will stop revealing the development of the film here. Just let me add that starting from these questions a search of information, an attempt to solve the mystery begins, carried by hardcore fans, who become music detectives. It will unfold a story that you will qualify as surreal, impossible, one that Swedish director Malik Bendjelloul bring to us in the most touching way, as explained by the people who did themselves, meeting and connecting with others. It's an amazing quest, that will grab you and touch you deeply. Because they will reach an unexpected goal, a goal that will reveal itself as an example, a celebration of human condition and how powerful music can be.

"Searching for Sugar Man" is not only a great and deeply absorbing entertainment. It is also an inspiring film on mankind. There's mystery, magic and wonderful music. What more can you ask for? Thanks In-Edit for such a discovery.

SCORE: 8,5/10

Stop Awful Covers 7

The tragedy continues and being honest, it doesn't get any better. I think this might be the worse chapter of the whole Awful Covers Series, regrettably. Don't know what's going on inside the heads of the musicians responsible of the following disasters. Please stop...

ARTWORK ATROCITIES

Dr. Dog: Wild Race EP
Panda Bears are cute, ok. But not combined with tacky fonts and cute additional imagery

Jets Overhead: Boredom and Joy

I easily see the boredom, its looks mightily and annoyingly pink, but where's the joy?

Titus Andronicus: Local Business
More boredom... now in red. Doesn't look like a very promising business

 Jason Lytle: Dept. of Disappearance
Leave the mountains and the album title. The rest can disappear for good

Ty Segall: Twins
Another fine example that artists shouldn't decide about their artwork when drunk or on drugs

The Bewitched Hand: Vampiric Way
One of my personal contenders for worst artwork of the year. Creepy, tacky, horrible colours...

Ms Mr: Candy Bar Creep Show
The artwork fits the album title... I do hope the music doesn't....

Lapko: Love
Here's my interpretation: the naked guy means freedom and joy, the lady means submission, and the bored again means boredom. That could be what the artwork wants to say about love? Well, no, that MY interpretation, because the cover doesn't mean anything

Death Grips: No Love Deep Web

Decided to put the original, uncensored version, because a penis is not the problem. The problem is that no-one would like to have an album with a cover like this at home because it's awful. That's not transgression, that's stupidity.

The Indie Anthology 21: essential songs

The next chapter in our Anthology is reserved to a very special artist, very dear to me, who I'll be seeing live, for the third time (first in the best of possible companies), next Friday. A great singer, clever lyricist, smart observer of personal relations and social behaviours, capable of making you laugh or wallow on your own pain when you feel miserable (oops maybe I have said too much here). A composer and creator of wonderful pop songs.

Ladies and gentlemen, the indie-pop genius of Mr. Neil Hannon, The Divine Comedy.

Song: Absent Friends
Artist: The Divine Comedy
Year: 2004

"A Lady of Certain Age", "Our Mutual Friend", "Tonight We Fly", "Songs Of Love"... I could be arguing with myself for decades. I can't decide which is my favourite song of The Divine Comedy. So why I choose "Absent Friends"? It's not the first that brought me to his music either (the amusing "Alfie" or "Everybody Knows that I Love You" are the ones). But "Absent Friends" was the one that made "click" on me, the one that made me move from an occasional listener, waiting for a greatest hits compilation, to a devoted fan. There's something on his voice, always delicate but never more powerful than here, brilliantly accompanied by the orchestration (the chamber pop master at his finest hour?). There's something on the orchestration, upbeat, epic, and martial, but allowing every word to be heard. There's something on the words, heartfelt and honest. A song about long-gone, missing, somehow fallen heroes have never sounded so touching and uplifting.

See you in a week dear Neil!!   

Music & Movies: In-Edit 2012 begins!

Beefeater In-Edit 2012 begins tonight! 

From October 25th to November 5th, a brand new edition (its 10th birthday) of the Barcelona's International Music Documentary Festival takes place. After last year's great experience, Bloodbuzzed repeats with another dose of the most exciting rockumentaries (plus a conference which I hope to attend). Here's what my schedule looks like. 

     Saturday, October 27th

18:00 Searching for Sugar Man

22:30 I Am Trying to Break Your Heart

Sunday 28th 

20:00 Let's Get Lost

Monday 29th

20:15 Sunset Strip

Wednesday 31st

19:00 Music and Politics (Chat)

Sunday, November 4th 

20.15 London: The Modern Babylon

 
See you at the movies!

"Prometheus", a sci-fi disaster

Prometheus

You have to be careful when you are going to review a sci-fi movie. The legions of genre fans are by far, the most passionate you can reach out there. Therefore, they are the toughest collective when you have to argue with them. If you are in front of a sci-fi frea.... sorry fan, it’s better to share his/her opinion. Personal worse moments: “The Lord ofthe Rings” trilogy (lamest dialogues in film history and equally lame plot), “Blade Runner” (sorry, fascinating aesthetics, but the film bores me to death) and “Alien”.

So after watching it, facing the review of “Prometheus” was a scary challenge to me, because I can only describe it as a wonderfully looking but amazingly empty, even silly film. Many sci-fi films are ok with just providing a futuristic landscape/looks, ultra-cool guns and “toys” and tones of action and special effects. While others promise a much deeper, usually existentialist experience. “Prometheus” tries both, but fails, miserably, on the second category.

I was deeply relieved when I read on the blogosphere (if you speak Spanish, don’t miss this overlong & relentless review) I’m not alone thinking “Prometheus” is a conceptual disaster. Many claim, as I do, the film is a just collection of scenes (mostly impressive in terms of visual experience) with very little/zero coherency. “Prometheus” should be used in script writing classes as one of the best possible examples of what’s an awful script, written by Damon Lindelof (“Lost” series) or at least one full of plot-holes. 

Examples are nearly infinite and can be divided in several categories. First, we have the “funny ones”, summarized on the shocking composition of the space mission crew and their absolutely ridiculous behaviour. A special “recognition” for the biologist and the geologist lost on the "labyrinth" (no spoiling). How on Earth (or planet LV-223) could they have been selected for such an important expedition when they aren't able to distinguish right from left? The amount of stupid mistakes is huge (without helmets, really?). They take incredible risks for being such a bunch of scientific experts. And the lack of communication or vigilance is puzzling (no matter how attractive some casual sex with Charlize Theron might sound).   

Second, we have the ones that can be labelled as “providers of some emotion and/or action”. Sci-fi can be cold, too cold sometimes, so I guess even a well-known director like Ridley Scott (or Lindelof) thought a few scenes of “personal motivations” would be needed for reaching a bigger audience. But they made me blush of embarrassment. The character played by Noomi Rapace is supposedly the best scientist, yet is faith (horrible flashbacks included) which moves her to discover what? That the Christian God was all a lie? Action/tension scenes are quite spectacular but are also quite dumb. The impact of the abortion scene is ruined why the not-so-advanced technology and the surreal behaviour post-surgery. I already mentioned our dumb & dumber (geologist and biologist) scenes. One of them even comes back. I could keep writing for long. Death among the expedition is (that’s a common fault on action films) treated poorly: on that scene I'm devastated because I lost my husband/boyfriend, next scene I'm kicking some ass. Some secondary roles are just there to add a silly joke (the captain assistants) to the film, but they don't make the spectator laugh much, they just add confusion and implausibility to a film that lacks tones of congruence.

And third, we have the “pretentious ones”. I'm using that word because I'm convinced either director or screenwriter put it there just for the sake of giving an aura of knowledge, relevance, message (won't go much further on it's Christian message) or a "coolness factor". Some could be interesting and intriguing, but while few are left behind, bizarrely, from scene to scene, others are simply forgotten during its development. So, at the end, are the engineers our Gods, they created us? What's the black liquid? Why the engineers behave that way? Why the aliens appear? Someone could explain the robot behaviour? I believe they tried to mix many things and offer two different directions for the movie: the existential plot about the origin of mankind with the action/horror/thriller film that is full of references to the "Alien" saga. The result is simply incoherent, and kills the potential of the film, or at least its capacity to be entertaining.

Only positive points on the film are the visuals, including planet designs and scenarios, and Michael Fassbender, again excellent and scary although his role is among the trickiest ones of the film. But that is not enough to save "Prometheus" from being a disaster. And sorry, but I won't buy the argument that everything will be revealed on the sequel, obviously announced on it. No, that's a despicable trick to justify the lack of ideas (or with the purpose of making more money). In my case at least, after such an awful film, I'm not interested in seeing what's coming next.

SCORE: 3/10