Lambert & Stamp


The debonair Chris Stamp.

The debonair Chris Stamp.

(2014) Musical Documentary (Sony Classics) Chris Stamp, Pete Townshend, Roger Daltrey, John Hemming, Terence Stamp, Kit Lambert (archival footage), Heather Daltrey, Irish Jack, Richard Barnes, Robert Fearnley-Whittingstallt6. Directed by James D. Cooper

Few bands have had the impact that The Who have had in their career. It can be argued that of all the bands in rock and roll, only the Beatles, the Rolling Stones and the Beach Boys have had the kind of influence on the medium that they have had. Guitarist and principle songwriter Pete Townshend is considered one of the best songwriters in the history of rock and their rock operas Tommy and Quadrophenia expanded the art form and of course their songs continue to be staples of classic rock radio even now.

Once upon a time, though, they were a scruffy band playing in dingy clubs to crowds of diffident Mods. There, they were discovered by nascent filmmakers Kit Lambert and Chris Stamp, who met as assistant directors at Shepperton Studios. Both were devotees of French New Wave cinema in general and Jean-Luc Godard in particular and both aspired to become great directors in their own right. They hit upon the idea of filming in London’s rocking underground club scene and focusing on a single group, which after seeing their wild performances they hit upon a band called the High Numbers.

The film never came to pass but the band so impressed the two filmmakers that they were inspired to become their managers and¬† this fortuitous encounter would lead to some of the most potent rock and roll in history. Lambert, an Oxford-educated homosexual (in an era where it was illegal in England to be one) and Stamp, a rough and tumble Cockney who was a ladies’ man couldn’t have been more different if they’d tried but somehow they meshed together well; Lambert furnished Townshend with classical recordings to help his songwriting form while Stamp helped their stage show become one of the more talked about of its time.

All the elements are here for a documentary film that should have been absolute amazing; the film taken by Lambert and Stamp of the band in their High Numbers days alone would be enough to recommend the movie. Sadly, though, the film is overloaded with talking heads. Stamp, who passed in 2012 after his interviews were recorded, is a pleasant enough raconteur (and looks the part, dressed in a tux for Townshend and Daltrey’s Kennedy Center Honors) but just watching him talk is not in and of itself compelling enough.

Most of the interview time goes to Stamp, Townshend and Daltrey – Lambert died in 1981 after years of drug problems which would lead to the pair being fired as manager and an extended estrangement between the band and their former managers. Strangely, Lambert’s death is implied through the interviews and nothing concrete is really said about his death or its effect on Stamp or the band. Even Keith Moon’s untimely death was only mentioned in passing as reference to a legal meeting between the Who and their former managers. Considering the importance of Moon and bassist John Entwhistle to the sound of the band, it is kind of odd that they get very little attention in the documentary.

Given the richness of the source material and some of the really amazing archival footage, this is a disappointment. The movie is at its best when delving down into the creative process of the band, and when we got to know them (and their managers) more personally; Stamp talks about a notorious fistfight between Daltrey and Moon onstage that nearly splintered the band early in their career and how he intervened in getting Daltrey to find other ways to resolve conflicts rather than using his fists. We also get a sense of how wounded Stamp was when the band chose Ken Russell to direct a film version of Tommy, once again frustrating his dream of being a film director (he and Lambert assumed they would get the job). There is also footage of a young Townshend playing an acoustic version of “Glittering Girl” for Lambert and Stamp, both nodding approval as he plays.

Don’t get me wrong; there are some wonderful anecdotes, like friend John Hemming joking that chain-smoking Lambert only used one match in his entire life – the one that lit his first cigarette. Moments like that are swamped by endless discussion of minutiae that will only be of interest to diehard Who fans, who admittedly are going to love this movie a lot more than those viewers who aren’t into the band as much, which is a shame because there’s a whole generation that would benefit from discovering their music, which is some of the best rock and roll ever made. When the interviewees talk facts and figures, you’ll find yourself nodding off. When the interviewees open up, so does the movie. Sadly though that doesn’t happen enough to make this a memorable film.

REASONS TO GO: Wonderful subject. Some great archival performances.
REASONS TO STAY: Unforgivably boring. Too many talking heads.
FAMILY VALUES: Some rough language, a bit of drug content and one scene of brief nudity.
TRIVIAL PURSUIT: Chris Stamp is the younger brother of actor Terence Stamp.
CRITICAL MASS: As of 5/19/15: Rotten Tomatoes: 89% positive reviews. Metacritic: 75 /100.
COMPARISON SHOPPING: The Kids are Alright
FINAL RATING: 5/10
NEXT: 3 1/2 Minutes, 10 Bullets

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Carol Channing: Larger Than Life


Life is a musical number when you're Carol Channing

Life is a musical number when you’re Carol Channing

(2012) Documentary (EntertainmentOne) Carol Channing, Harry Kullijian, Lily Tomlin, Chita Rivera, Barbara Walters, Tyne Daly, Debbie Reynolds, Phyllis Diller, Loni Anderson, Bruce Vilanch, JoAnne Worley, Rich Little, Angela Lansbury, Bob Mackie, Tommy Tune, Tippi Hedren. Directed by Dori Berenstein

There are names and then there are Names. A lot of younger people aren’t that familiar with the name of Carol Channing but to those of my generation and before, she is virtually synonymous with Broadway. She originated the roles of Lorelei Lee in “Gentlemen Prefer Blondes” and more notably, Dolly Levi in “Hello, Devi.” In both cases her signature roles were handed off to other actresses for the film versions, Marilyn Monroe for the former, Barbra Streisand for the latter.

These days she is pretty much retired from the stage although she does make appearances from time to time; for example she does a show number at the Kennedy Center Honors with Chita Rivera and Angela Lansbury (which begs the question why hasn’t she gotten one yet) and a number from “Gentlemen Prefer Blondes” for a benefit.

Still, she’s recognized as the Ambassador of the Great White Way; while she’s taking a stroll pointing out the various theaters she’s been onstage in, she is seen by members of the chorus line of “Next to Normal” out taking a break between performances and is shown the reverence and love that those who love Broadway understand that she deserves.

Channing (who was 90 when this was filmed – she’s 91 now) is an ebullient force of nature, one who tells stories with genuine wit and warmth and has lots of stories to tell (such as of her first screen kiss from none other than Clint Eastwood). She’s one of those people you can’t help but like after spending just five minutes with her, and that personality shows through here.

There was a lot about her I didn’t know – about her support for gay rights causes and for other liberal touchstone causes. She has been a tireless worker in helping young actors survive the often brutal financial realities of life as a struggling actor, and for the furtherance of theatrical preservation. The more you see here, the more you like and respect her.

She hasn’t always had it easy. Not much is said about her marriage to her third husband of 42 years other than that the marriage ended abruptly and but before the divorce could become final her ex passed away. There have been allegations that it was a loveless marriage in other sources, but none of that is discussed here. Instead, the focus is on her fourth marriage to Kullijian, whom she met at Aptos Middle School in the San Francisco Bay Area and who turned out to be the love of her life, although sadly he passed away one day shy of his 92nd birthday in December 2011. However it’s obvious that they have an easy familiarity that comes from time and simpatico.

This is less of a documentary than a tribute; Berenstein really doesn’t linger too much on the unpleasant aspects of Channing’s life and rarely asks insightful questions. Not that a Mike Wallace-like approach would have been preferable but a look at the person behind the persona would have been welcome.

I still liked the movie a great deal however and wound up really falling in love with the subject a little. She may not be your cup of tea in terms of her life on Broadway, but nonetheless she’s great fun to spend an hour or so with. “Always leave ’em wanting more” is an old show business saying and it’s very true here – I wanted to spend more time with Carol Channing after the movie was done. I just wanted to get to know her better than the filmmakers allowed me to.

WHY RENT THIS: Gives you a glimpse into an amazing woman who’s had an incredible career.

WHY RENT SOMETHING ELSE: Focuses overly much on “Hello, Dolly” and not enough on maybe her thoughts about certain aspects of her life.

FAMILY VALUES: Nothing here your kids haven’t heard or seen before. There is some smoking and a few mildly bad words here and there.

TRIVIAL PURSUIT: Channing appeared on Nixon’s enemies list, which she later claimed as “the highest honor of her career.”

NOTABLE HOME VIDEO EXTRAS: The DVD is packed with ’em, including a Barbara Walters interview, a look at the opening night of “Hello Dolly” and much more.

BOX OFFICE PERFORMANCE: $22,740 on an unknown production budget; probably lost money.

COMPARISON SHOPPING: Ahead of Time

FINAL RATING: 7/10

NEXT: Desert Flower