(2020) Music Documentaries (Gravitas) Lamont Dozier, Lance Bass, Jon “Bowzer” Bauman, Ron Dante, Brian Wilson, Freda Payne, Al Jardine, Brian McKnight, Cindy Herron, Terry Ellis, Anthony Gourdine, Sammy Strain, Vito Picone, Jimmy Merchant, Scherrie Payne, Diz Russell, Charlie Horner, Jeff Barry, Tony Butala, Leon Hughes, Janis Siegel, Florence LaRue, Lala Brooks. Directed by Brent Wilson
It was a different time. Kids used to gather on the street corners of Brooklyn, Harlem and Philadelphia, singing under the lights in the summer evening twilight, using close harmonies. And why not? Teenage girls loved it and there is nothing a teenage boy likes better than being the center of a teenage girl’s attention. Well, the straight ones anyway.
The style was called Doo-Wop and it would eventually come to be one of the most influential forms of music ever. You can draw a straight line from the Doo-Wop groups of the 40s and 50s through the girl groups of the 60s to the boy bands of the 90s. As Lance Bass of N’Sync notes, other genres will come and go but there will always be pop bands that utilize harmonies.
Some of these performers have been singing these songs for 60 years and more, and there are plenty of great bands here, like Frankie Lyman and the Teenagers, the Coasters, Little Anthony and the Imperials, the Chantels, Jay and the Americans, the Orioles and so on, playing songs like “Why Do Fools Fall in Love,” “I Only Have Eyes for You” and “Sh-Boom.” There are some stories that are heartwarming but a lot are anything but. Racial prejudice was common for these predominantly African-American groups who were often discriminated against by the very audiences dancing to their records. Many of those who were responsible for some of the most iconic songs of the 20th century were never paid royalties, or amounts that were almost insulting.
This isn’t really a definitive documentary – they’d need a mini-series for that – and it glosses over the history to a large degree. Wilson does a pretty good job using a clever motif of a 45 record to delineate various chapters of the documentary, and further graphics give a sense of what year various songs came out. Still, if you’re looking for more information, the film barely scratches the surface.
The good thing, though, is that you get to hear some of the music and it is essential music. Sure, it’s from a much more “innocent” time (even though Doo-Wop did play an essential role in the Civil Rights movement) and may sound a bit dated to modern ears, but the harmonies are timeless and so are most of the songs themselves. For some, this might make for a lovely walk down Memory Lane while for others this might serve as an introduction to a style of music that has influenced the pop music of every era since – including the current one.
REASONS TO SEE: The music is absolutely essential. Nice use of graphics.
REASONS TO AVOID: Not as informative as other docs of this type have been.
FAMILY VALUES: There are some brief drug references.
TRIVIAL PURSUIT: The school depicted in the film carries the Portuguese name for John Carpenter, who is an idol of both directors.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Microsoft, Vudu
CRITICAL MASS: As of 4/2/20: Rotten Tomatoes: 88% positive reviews, Metacritic: No score yet
COMPARISON SHOPPING: Life Could Be a Dream
FINAL RATING: 7/10
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