The Go-Go’s


They got the beat.

(2020) Music Documentary (Eagle RockBelinda Carlisle, Charlotte Caffey, Jane Wiedlin, Gina Schock, Kathy Valentine, Margot Olaverra, Ginger Canzoneri, Elissa Bello, Pleasant Gehman, Miles Copeland, Kathleen Hanna, Sting, Terry Hall, Lee Thompson, Lynval Golding, Chris Connelly, Dave Robinson, Paula Jean Brown, Richard Gottehrer, Stuart Copeland, Jann Wenner, Martha Quinn. Directed by Alison Ellwood

 

What the hell is wrong with the Rock and Roll Hall of Fame? More to the point, why aren’t the Go-Go’s in it?

This is a band that has never truly been taken seriously. Even at the height of their fame, they were written off by critics as a lightweight pop band, conveniently ignoring the fact that they were trailblazers. They didn’t have a Svengali behind them as the Runaways, who have received far more props from the critical community. They achieved their success on their own. Maybe it’s because they flamed out so quickly, but there are bands in the Hall that have had shorter careers than they.

The Go-Go’s emerged from the L.A. punk scene that gave us bands like X, Motels, The Germs, and the Minutemen, among others. Jane Wiedlin, the manic pixie dreamgirl guitarist for the band, talks candidly of her own depression which led to a suicide attempt at 15; she was rescued by a punk scene that empowered her and inspired her to join a band with vocalist Belinda Carlisle.

The nascent group were more enthusiastic than accomplished. Early footage of them shows a band that can barely play their instruments, but even though their music is very different than what it would eventually become, that pop sheen can still clearly be heard. They eventually added guitarist Charlotte Caffey who turned out to be a talented songwriter who gave them their first hit single, “We Got the Beat,” inspired by a viewing of Rod Serling’s Twilight Zone.

They became better, growing a following. They added a new drummer, Gina Schock, who turned out to be a world-class skin-pounder. And then when original bassist Margot Olaverra, who resisted the band’s shift from pure punk to a more pop-oriented sound, became ill, they recruited former Textones guitarist Kathy Valentine to take her spot. Valentine, who had never played bass before at the time, recalls learning the entire set of her new band in a two-day cocaine-fueled binge.

An early milestone was an invitation to tour England as an opening act for the Specials and Madness, two ska revival bands who the Go-Go’s opened for in L.A. It turned out to be a difficult tour; the Go-Go’s didn’t play ska music and often got booed off the stage, or spat upon by white nationalists who were fans of the ska movement (which is kind of ironic, when you think of it; most of the ska bands at the time were integrated and the music itself was based on music from Jamaica). It did get them attention enough from Stiff Records, the influential English independent label which then released “We Got the Beat” as a single. During the tour, Wiedlin became romantically involved with Specials frontman Terry Hall and the two wrote another song that would become a signature of the band: “Our Lips are Sealed.”

Miles Copeland, manager of The Police, signed the band to his fledgling IRS Records label who released their debut album, Beauty and the Beat. Jet-propelled by the two singles, it rose to number one on the charts and established the group as a major hitmaker. From there, they got on the rock and roll treadmill of touring, making a new album, touring, rinse, repeat.

Like other bands in the industry, the group was beset by the usual problems; squabbles about royalty payments, drug use (Caffey hid a burgeoning heroin addiction from the band, even as she continued to write the majority of their hits), Even as the Go-Go’s were becoming one of the biggest acts in rock and roll, the seeds of their implosion were planted; they fired their longtime manager Ginger Canzoneri for a more corporate management team, and eventually Wiedlin left the band. They replaced her briefly with Paula Jean Brown, but the chemistry of the band had already been affected. Six months after Wiedlin left the band, the rest of the group called it a day.

Ellwood has assembled a pretty standard rockumentary with plenty of interviews. The band is remarkably candid about their own foibles with the exception of Carlisle who while forthcoming about her own drug habit in the past, doesn’t mention it here and only obliquely refers to the role her own ego played in the schisms that ultimately broke the band apart. Ellwood does a good job of capturing the bond that still exists between the band (as the documentary was being completed, the band recorded their first material together in nearly two decades). She’s less successful at offering context of how the band was affected by their era – and how they affected succeeding eras. Only Bikini Kill’s outspoken Kathleen Hanna really remarks on the influence the band had on female musicians that came afterwards.

It’s hard to understand why this band hasn’t gotten the credit that is due them. Their music was never outwardly political or topical and thus became timeless; they sang about love and lust and loneliness; the things we all relate to. They did it with a relentlessly cheerful beat and irresistible pop hooks. There is skill involved in all of that but the band ended up being marginalized by everyone except their fans.

Nobody really took them seriously back then, a head-scratching attitude that continues to this day. There is the fact that they are all very attractive women and there is a tendency to look at attractive women as incompetents who get by on their looks rather than talent. It could be the mere fact that they are women, but when I think back to the recent documentaries on Joan Jett and Hanna, women whose music was more aggressive than that of the Go-Go’s, and the critical reception to both of those who hailed the subjects of those films as innovators and trailblazers. Well, so were the Go-Go’s but even now I don’t see the same type of acclaim being accorded them. Perhaps a more strident documentary was needed to maybe force people to listen. This band deserves better. They always have.

REASONS TO SEE: Puts the spotlight on a group that never really got its due.
REASONS TO AVOID: More or less a standard rock doc.
FAMILY VALUES: There are some drug references, profanity and some adult themes.
TRIVIAL PURSUIT: The Go-Go’s were the first (and to date, only) all-female group to play their own instruments and write their own songs to have a number one album on the Billboard charts.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV,  Fubo, Google Play, Showtime, YouTube.
CRITICAL MASS: As of 2/7/2021: Rotten Tomatoes: 98% positive reviews; Metacritic: 81/100.
COMPARISON SHOPPING: Bad Reputation
FINAL RATING: 6.5/10
NEXT:
Little Fish

Herb Alpert Is…


The brass still gleams.

(2020) Music Documentary (AbramoramaHerb Alpert, Jerry Moss, Lani Hall, Sting, Quincy Jones, Billy Bob Thornton, Burt Bacharach, Sergio Mendes, Lou Adler, Terry Lewis, Bill Moyers, Randy Alpert, Jimmy Jam, Quest Love, Chloe Flower, Richard Carpenter, Eden Alpert, Hussain Jiffry, Ken Robinson, John Pisano, Chip Tom, Eric Pryor, Richard W. Lariviere, Bill Cantos, Aria Alpert Adjani. Directed by John Scheinfeld

 

In the early-to-mid Sixties, the biggest musical group in the world was the Beatles. All the kids listened to them. But it might surprise you to know what their parents were listening to; Herb Alpert and the Tijuana Brass. The two groups were the biggest selling musical acts in the United States in 1965 and 1966. Even if you don’t know the name, you’ve heard “A Taste of Honey” at some point in your life. You’ve had to.

In the sixties, his music served as something of a soundtrack. It was used as incidental music on The Dating Game and could be heard in movies and of course, on the radio. As ubiquitous as his music was, he might be best remembered in the music business for being the “A” in A&M Records, whose roster of artists included at one time or another Janet Jackson, The Carpenters, Carole King, The Police, Sergio Mendes and Brazil 66, Bryan Adams, Soundgarden, The Black-Eyed Peas, Sheryl Crow, Peter Frampton, Styx, Amy Grant, Joe Jackson, the Neville Brothers, Atlantic Starr, the Flying Burrito Brothers, the Human League, Oingo Boingo, Hugh Masakela, Iggy Pop, the Neville Brothers, Burt Bacharach, Quincy Jones, Cat Stevens, the Tubes, Simple Minds, UB40, Rick Wakeman, Supertramp, Bill Withers and the Stranglers.

These days, Alpert spends a lot of time sculpting and painting. Music has taken a back seat to the visual arts, although he still dabbles. He sold the record company years ago, and is able to live a pretty comfortable lifestyle. He’s reached a point in his life where people tend to turn inward and ask themselves “Did I do okay?” It is also the time of life when documentarians tend to come knocking on your door.

Scheinfeld has assembled some pretty impressive interviews, and Alpert himself, notoriously an introvert, actually proves to tell some pretty fun stories. The tone of the film is, as you might expect, somewhat reverent and if you’re looking for a “warts and all” portrayal here, you will likely be disappointed. Still, the archival footage is absolutely amazing – the TJB were making music videos back in the early Sixties before just about anybody else – and you get to hear a little bit more than just ten-second snippets of songs.

Alpert seems to be a pretty forward-looking guy as most artists tend to be. Still, in an era when looking forward tends to bring on depression, it was a pleasure to look back a bit. My mom and dad owned the South of the Border album and they played the heck out of it – I’m surprised it still plays (my mom still has the album somewhere). It represents a simpler, more innocent era to me, and I lived in Southern California – the perfect environment to hear Alpert’s music. Some today might mutter about cultural appropriation and watered-down version of Mexican music, but it was more than an accompaniment to chips and salsa at your local Mexican chain restaurant. It introduced a lot of people to a different type of music and made them receptive to hearing still more. Whatever you think of the TJB, you have to admit that Alpert made an indelible mark on the music industry and thus, on our lives. For my money, he done good.

REASONS TO SEE: The music clips are a little longer than usual for this genre. There is some terrific archival footage.
REASONS TO AVOID: The film occasionally descends into hagiography.
FAMILY VALUES: Suitable for family audiences.
TRIVIAL PURSUIT: Alpert got his start in the music business as a songwriter; among the songs that he wrote was the classic Sam Cooke song “Wonderful World.”
BEYOND THE THEATER: Amazon, AppleTV
CRITICAL MASS: As of 10/20.20: Rotten Tomatoes: 87% positive reviews; Metacritic: 64/100.
COMPARISON SHOPPING: Ella Fitzgerald: Just One of Those Things
FINAL RATING: 7/10
NEXT:
The Great Deceiver

New Releases for the Week of October 2, 2020


POSSESSOR: UNCUT

(Neon) Andrea Riseborough, Christopher Abbott, Tuppence Middleton, Sean Bean, Jennifer Jason Leigh, Tiio Horn, Rossif Sutherland, Christopher Jacot. Directed by Brandon Cronenberg

An elite assassin uses brain implant technology to inhabit the bodies of other people in order to carry out hits for high-end clients.

See the trailer here
For more on the movie this is the website</strong
Genre: Thriller
Now Playing: Enzian Theater, Epic Theaters Mount Dora, Epic Theaters at Lee Vista, Epic Theaters of Clermont, Epic Theaters of West Volusia, Touchstar Southchase
Rating: NR

12 Hour Shift

(Magnet) Angela Bettis, Chloe Farnworth, David Arquette, Mick Foley. A drug-addicted nurse and her cousin search for a matching kidney for a patient, but as they do the bodies begin to pile up.

See the trailer here
For more on the movie this is the website  
Genre: Horror Comedy
Now Playing: Enzian On-Demand
Rating: NR

A Call to Spy

(IFC) Sarah Megan Thomas, Stana Katic, Radhika Apte, Linus Roache. A one-legged American secretary with ambitions of becoming a diplomat and an Indian wireless operator are recruited to join a group of civilian spies and are dropped into Occupied France to sabotage the Nazi war effort.

See the trailer here
For more on the movie this is the website  
Genre: War
Now Playing: Cinematique Daytona
Rating: NR

Death of Me

(Saban) Maggie Q, Luke Hemsworth, Alex Essoe, Kat Ingkarat. A vacationing couple is shocked to discover a videotape that shows one of them murdering the other.

See the trailer here
For more on the movie this is the website  
Genre: Horror
Now Playing: Premiere Fashion Square Cinema
Rating: R (for violence, gore, sexual content and language throughout)

Herb Alpert Is…

(Abramorama) Herb Alpert, Quincy Jones, Sting, Jerry Moss. From the lead trumpet player for the Tijuana Brass to major label mogul to philanthropist, Herb Alpert has led a charmed life.

See the trailer here
For more on the movie this is the website  
Genre: Music Documentary
Now Playing: Enzian On Demand
Rating: NR

Jiang Ziya (Legend of Deification)

(Well Go USA) Starring the voices of Zheng Xi, Yang Ning, Tute Hameng, Yan Meme. After being banished from heaven, a great warrior must slay a demon that has come to Earth in order to return to the celestial heave and attain godhood.

See the trailer here
For more on the movie this is the website  
Genre: Animated Feature
Now Playing: Regal Waterford Lakes
Rating: NR

\SCHEDULED FOR REVIEW:

A Call to Spy
Herb Alpert Is…
Possessor

Up From the Streets: New Orleans: The City of Music


The city of music, and a river runs through it.

(2019) Music Documentary (Eagle RockTerrence Blanchard, Wynton Marsalis, Harry Connick Jr., Ivan Neville, Sting, Robert Plant, Arthel Neville, Manny Fresh, Herlin Riley, Ben Jaffe, Jon Cleary, Alan Light, Steve Gadd, Aaron Neville, Dr. John, Cosimo Matassa, Michael White, Earl Palmer, Keith Richards, Allen Toussaint, Branford Marsalis, Irma Thomas, Charmaine Neville. Directed by Michael Murphy

 

New Orleans is a city unique to itself. Alone among cities in the United States, it has influences from France, Spain, Africa, and indigenous natives; all has blended into a flavor that can’t be duplicated elsewhere. New Orleans is well-know for its cuisine, for the beauty of its French Quarter, it’s resilience following the devastation of Hurricane Katrina but perhaps most of all, for its music.

New Orleans musicians had a hand in creating jazz, blues, rock and roll, and hip-hop. The music is infectious in the Crescent City. It is not music to sit down and contemplate your navel to – it is music to get up and shake your booty to. This documentary captures the spirit of the music perhaps better than my words ever could. Michael Murphy has crafted a documentary worthy of its subject, and that’s no easy task.

We get a sense of the history of how music had always been a big part of New Orleans, from slaves drumming in Congo Square, to the gospel of Mahalia Jackson, (whom many believe is the greatest gospel performer who ever lived and yes, she started out here) to the gumbo rock of the Meters, the Neville Brothers, the Radiators and Dr. John to the jazz of Louis Armstrong, Buddy Bolden, the Preservation Hall Jazz Band, Wynton Marsalis, Professor Longhair and Jelly Roll Morton, to the unforgettable rock/R&B stylings of pioneer Fats Domino and Allen Toussaint.

The passion for the music and the love of its residents for the city and each other is more than evident; it makes you want to move down there and be a part of it. You want to get out and dance in the streets with a brass band that just happens to wander by. You want to hang out at Preservation Hall and listen to the music that made New Orleans what it has always been. You’ll even want to share a plate of red beans and rice with some of these men and women who are musical royalty but also incredibly down to earth.

There’s enough material in the subject matter to do a mini-series (somebody please call Ken Burns) and you get a sense that the filmmakers are just touching the surface, but it’s nonetheless a satisfying movie with some wonderful archival footage of legends like Armstrong and Domino, along with more current footage of Mannie Fresh and the Radiators, as well as some performances by local heroes and legends but the amazing thing is the music. It’s the kind of music that was meant for a party, and best of all, we’re all invited. This is an essential documentary for anyone serious about American music.

For those looking to check it out at home, follow this link to order the film through the Enzian’s On Demand program. 50% of the rental fee goes to support the Enzian whose doors are closed currently due to the pandemic. While they have a lot of great films available for your viewing pleasure (eight at any given time), this is the one to order if you can only order one.

REASONS TO SEE: Amazing music. Fascinating historic footage. Captures the unique quality of New Orleans and the fierce devotion of its residents. Extremely informative. Leaves you wanting to explore the music of New Orleans further.
REASONS TO AVOID: The title is a bit unwieldly.
FAMILY VALUES: There is some brief profanity.
TRIVIAL PURSUIT: Blanchard, whose father was an opera fan, will be the first African-American composer to have an opera staged at the Metropolitan Opera in New York later this ear.
CRITICAL MASS: As of 5/17/20: Rotten Tomatoes: 95% positive reviews, Metacritic: 70/100
COMPARISON SHOPPING: Ken Burns’ Jazz
FINAL RATING: 10/10
NEXT:
Dumplin’

Can’t Stand Losing You: Surviving The Police


It rocks to be Sting!

It rocks to be Sting!

(2012) Musical Documentary (Cinema Libre) Andy Summers, Sting, Stewart Copeland, Kate Lunken Summers. Directed by Andy Grieves

In the heyday of MTV, the Police were one of the bands that were essentially made for the music video age. Blonde and good looking, sometimes the fact that they made really good music got lost in the image. Melding a variety of musical forms including (but not limited to) New Wave, reggae, jazz, blues with the occasional burst of discordant noise, they were often unfairly characterized as purveyors of disposable lightweight pop. Nothing could be further from the truth.

Behind the easygoing blonde facade were three strong personalities who often clashed. Bassist Sting was never much of a team player and said so; he would get into heated arguments with his band mates over things ranging from chord changes to which singles were released off of albums. The band member’s egos stemmed from the fact that all three were talented musicians and songwriters in their own rights, and recording sessions often became wars of attrition.

Finally, the band called it a day in 2006 which startled the music press and fans alike; their most recent (and it turns out final) album Synchronicity had been a monster success and they were considered by many to be the biggest band in the world. All went their separate ways, however; Sting to a successful solo career, drummer Stewart Copeland to TV and film composition and guitarist Andy Summers to a string of instrumental albums both solo and with other guitarists like Robert Fripp of King Crimson.

In some ways though, the way the band broke up left both the fans and the band itself feeling a lack of closure so in 2007, partly in honor of the 30th anniversary of the release of their first single “Roxanne” the band announced a reunion tour. It would be a one-time event; as Sting put it, “There will be no album. There will be no follow-up tour.” The tour would be the last hurrah for the band, a way of saying goodbye to their fans one final time.

Summers, prior to the reunion, wrote a book on his time with the Police entitled One Train Later and decided to do a documentary. Copeland, who had taken Super 8 movies of the band on tour, had previously released a documentary entitled Everybody Stares: The Police Inside Out back in 2006 but it wasn’t until well after the reunion had concluded that Summers and Grieve, assuming the director’s chair for the first time after establishing himself as a film editor, assembled both from archival footage of the band as well as newer footage from the reunion tour shot by Lauren Lazin.

Here we hear Summers laconically reading from his book over the images and video. Summers, who these days resembles comedian Eric Idle portraying a rumpled professorial sort, is not the most expressive reader ever; most of the voiceover is monotonic which can lull the viewer to sleep, or at least lead them to lose interest. To be sure, however, he’s a good writer and the prose is well-written.

One drawback is that the film is exclusively from Summers’ point of view. That’s a double edged sword; we get a very definitive, consistent viewpoint throughout, but that’s the only viewpoint we receive. While we hear Sting and Copeland in interviews talking about the band, there’s a kind of facade that is practiced by members of any band which is meant to keep the world at large out of the inner sanctum. Only from Summers do we get any kind of emotional resonance and while that is much appreciated, the film could have used more participation from his bandmates as well.

Grieve, with his background in editing, really weaves the footage from the 70s and 80s nicely in with concert footage from the reunion tour. It’s a nice effect although to be honest the songs don’t really change much in arrangement over time for the most part although once in awhile the band messed about with the arrangements to some of their lesser known tunes. We do get a sense that the divides that split the band up remain intact; they seem to be better friends outside of the band than within it.

There are some nice tidbits here; Summers, for example, was briefly a member of Eric Burden and the Animals prior to joining the Police. He was much older than his mates, who teasingly tried to convince an interviewer that the Summers who played in psychedelic bands like Dantalian’s Chariot and blues bands like Zoot Money’s Big Roll Band was actually the Police guitarist’s father. Another anecdote that was interesting was that the band’s first appearance on the influential British music show The Old Grey Whistle Stop nearly didn’t happen when a can of hairspray exploded in Sting’s face, necessitating a hospital visit to save his eye; he was forced to wear oversized sunglasses for the appearance because of it.

Summers does go into more personal aspects of his life, such as how the marriage to his wife Kate developed and then disintegrated due to his constant touring with the band, how he sunk into reckless behaviors after the divorce and how an interest in photography went from being a hobby into being therapy. Happily, the couple reconciled and remarried and have since given birth to twin boys in addition to the daughter they had during his Police days. These are some of the more compelling moments in the film.

In some ways this is an ego project for Summers but I suspect he’s okay with that characterization; this is more “Andy Summers and the Police” than a fair, balanced portrayal of the band and their music. Summers says, with some pride, “We were allowed (to have egos) because we were really good musicians” without any hint of irony, and deservedly so. This is a band that really never got its critical due during their existence and even less so afterwards. They were more than just a trio of pretty boys that grew out of the punk clubs of England and escaped into pop superstardom; they wrote some amazing songs that still sound good today. I just would have wished for a documentary that was a little less one-sided.

WHY RENT THIS: Nice interweaving of archival concert footage with more recent stuff. Informative.
WHY RENT SOMETHING ELSE: Too Summers-centric in a self-aggrandizing way. Lacks energy.
FAMILY VALUES: Some minor swearing.
TRIVIAL PURSUIT: The comic book character John Constantine (who appeared in a sadly now-defunct NBC series this past season) was based  visually on Sting.
NOTABLE HOME VIDEO EXTRAS: Some of Summers’ photos appear in a photo gallery; there’s also a Q&A session with Summers from the film’s L.A. premiere, a promo piece on his solo album Mysterious Barricades, an interview with Summers and finally a Summers-made trailer for the film (in addition to the official one).
BOX OFFICE PERFORMANCE: $23,262 on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental Only), Vudu
COMPARISON SHOPPING: Soul Boys of the Western World
FINAL RATING: 5/10
NEXT: Hitman: Agent 47

Crude


Don't say anything crude.

Don’t say anything crude.

(2009) Documentary (First Run) Pablo Fajardo, Sting, Judge German Yanez, Kent Robertson, Dr. Adolfo Callejas, Steve Donziger, Ebergeldo Criollo, Alossa Soltani, Joseph Kohn, Maria Garafolo, Sara McMillen, Ricardo Reis Veiga, Diego Larrea, Alejandro Ponce, Rosa Moreno, Amy Goodman, Rafael Correa, Hugo Chavez, Lupita de Heredia, Trudie Styler. Directed by Joe Berlinger

In 1993, lawyers in Ecuador filed a class action lawsuit against Chevron on behalf of 30,000 indigenous dwellers of the Ecuadorian rain forest for damages done by Texaco’s (who were acquired by Chevron in 2001) Lago Agrio oilfield operations. The lawsuit alleged that poorly maintained pipelines and waste disposal pits had infiltrated the water supply, leading to a variety of cancers and other diseases that afflict the people of the region, which is roughly the size of Rhode Island.

The lawsuit dragged on for 18 years, following a change of venue from New York to Ecuador after American courts dismissed the case because they didn’t have proper jurisdiction. This documentary, helmed by Joe Berlinger who has been Oscar nominated and also won Emmy and Peabody awards for his work, followed the case during 2006 and 2007 as the lawsuit drew international attention.

Berlinger admirably allows both sides of the story to air their opinions; certainly his sympathies lie with the plaintiffs as he tends to present more of their point of view, but certainly Chevron cannot complain that he didn’t give them if not equal time at least enough time to present their case. It’s hard to argue with the images that we see of scandalously polluted holes in the ground, children with heartbreaking rashes and illnesses, and the evidence of the cultural destruction of a people who had inhabited the area safely for centuries until the oil companies came along.

Chevron’s argument that Texaco had cleaned up the area that they were involved in before turning over the oilfield to the state-run Petroecuador corporation who, according to Chevron, were responsible for the lion’s share of the environmental destruction is hard to ignore. Berlinger was given access to Chevron executives as well as their legal team and quite frankly they don’t come off as profit-mad monsters. However, the plaintiffs do argue that Texaco wouldn’t have done any cleaning had they not been compelled to after an earlier lawsuit and their argument that Texaco didn’t uphold their share of the agreement is also hard to ignore.

The status of the people affected by the extraction of oil is truly heartbreaking; nobody should have to live in those conditions, particularly considering the biodiversity of the region which has likely been irreparably damaged by the somewhat cavalier safety precautions of all of the oil companies involved. While the documentary does spend some time with the natives, more emphasis is given on the legal teams of both sides which in a sense is justified because as a legal drama this case is compelling, but like most real-life legal dramas, can be kind of boring to watch.

The Ecuadorian courts rendered a decision in 2011, ordering Chevron to pay just under $10 billion in reparations and clean-up costs, a decision upheld by the Ecuadorian supreme court. In turn, Chevron litigated in the United States, alleging that improprieties by the American and Ecuadorian lawyers of the plaintiffs and corruption in the Ecuadorian judicial system had led to a decision that was unjustified. An American court found in favor of Chevron in 2014, a decision that the original plaintiffs are appealing. To date, none of the people affected by the drilling for oil have received a penny in compensation.

Watching Donziger, the lead American lawyer who is somewhat arrogant, it is easy to believe that he behaved improperly, which has been borne out by documentary footage not included in the feature as well as through his own journal entries and internal memos. Sadly, while the cause was just, those who fought for the cause didn’t behave in a manner that reflected the justness of that cause. And to their detriment, Chevron has launched an aggressive course of punitive litigation against the Ecuadorian plaintiffs and their lawyers. It is somewhat ironic that a company that complained that they were being sued because of their deep pockets are now using those deep pockets to go after those who sued them, who are now suing Chevron once again, this time for $113 billion, claiming that Chevron has failed to comply with the original decision.

Chances are the case will continue to churn in the American and international legal systems for years to come, maybe even decades. My gut feeling is that if Chevron ends up paying anything out, it will be much less than what they were initially ordered to pay and if they do pay anything out, most of it will likely go to the lawyers and little will make its way to the Ecuadorian Amazon where people continue to live and die. This is the human cost of our insatiable need for oil and the insatiable greed of those who supply that oil. It’s the kind of tragedy that would have delighted Shakespeare – and turned his stomach.

WHY RENT THIS: Reasonably balanced, allowing both sides to present their points of view. Beautifully shot. Fascinating interviews.
WHY RENT SOMETHING ELSE: Those who love the law may be disgusted by the behavior of lawyers on both sides. The struggle between the lawyers overshadows the plight of the natives.
FAMILY MATTERS: Some adult themes.
TRIVIAL PURSUITS: Following the release of the film, Chevron had the case tried in an American court, claiming fraud and corruption; raw footage from the film, not included in the final cut, was submitted as evidence in the case.
NOTABLE HOME VIDEO FEATURES: Interviews with director Joe Berlinger and activist Trudie Styler, festival and premiere coverage and a resource guide.
BOX OFFICE PERFORMANCE: $185,881 on an unknown production budget.
SITES TO SEE: Netflix (DVD Rental only), iTunes
COMPARISON SHOPPING: You’ve Been Trumped
FINAL RATING: 6.5/10
NEXT: Transit

Twenty Feet from Stardom


Sweet harmony personified.

Sweet harmony personified.

(2013) Musical Documentary (Radius) Darlene Love, Merry Clayton, Lisa Fisher, Judith Hill, Tata Vega, Sting, Bruce Springsteen, Stevie Wonder, Mick Jagger, Bette Midler, Chris Botti, Lynn Mabry, Claudia Lennear, Sheryl Crow, Patti Austin, Gloria Jones, Janice Pendarvis, Stevvi Alexander. Directed by Morgan Neville

Florida Film Festival 2013

We all know the stars. Their faces, their voices, their music. We can hum their songs in our sleep. We don’t always get the full components of what goes into that classic music however. We rarely know who the backup singers are.

This documentary aims to rectify that. Focusing mainly on four African-American women, the movie looks at the importance of back-up singers to popular music of the last say, 50 years or so. There’s Darlene Love, for example, who not only sang leads on a lot of classic songs (“Christmas (Baby Please Come Home)” comes to mind) but her voice can be heard on some of Phil Spector’s classic hits – as part of The Blossoms, an early girl group she fronted, her powerful voice decorated some of the classic songs of the ’60s. Still, she’s primarily known as playing Danny Glover’s wife on the Lethal Weapon films.

Merry Clayton, like many of the great backup singers the daughter of a preacher, is perhaps best remembered as the female voice on the Rolling Stones classic “Gimme Shelter” for which she was awakened in the middle of the night to do and sang in pajamas and curlers.  She’s sang for some of the biggest names in music and while her face may not be familiar, I guarantee you’ve heard her voice many times.

Lisa Fisher may have the most amazing voice of them all. While much in demand (she has been the Stones’ touring backup vocalist for more than 20 years) she has for the most part shunned a solo career (although she won a Grammy for her lone solo album). She prefers to sing for the simple joy of singing, preferring to remain in the background rather than pursuing the solo career she more than has the talent to achieve.

Judith Hill famously sang at Michael Jackson’s memorial service and is heavily featured in the documentary of the rehearsals for his final tour that never happened due to his untimely death. She writes and performs not only for herself but for other big stars and recently became a contestant on the singing competition The Voice which I would count her a heavy favorite to win it all.

These women and many others like them (and a few men too) may not be well known but they are absolute titans in the industry. The respect that is paid them by the stars who are interviewed is palpable and as is mentioned by Claudia Lennear during the film, most people when they’re singing along to a song are singing what the backup singers are singing.

I will confess to having been a music critic for nearly a dozen years in the San Francisco Bay Area and like most people – critics included – I kind of took the contributions of these amazing singers for granted. One of the best thing this movie does is break down the importance of the background singers in the song. One stark illustration of this is found when ”Gimme Shelter” is played with the tracks removed one at a time until only Clayton’s vocal track remains. It’s a very simple yet effective reminder of the power of the human voice.

The human connection through music is universal. There are those who feel a particular passion for it and have the talent and the desire to express themselves through their music. Some of them make it and some of them don’t regardless of how good they are – it’s largely a matter of luck and timing. For my money, regardless of the fame and fortune these ladies and others like them have gathered (or lack thereof) they are every one of them stars in my book. If you love rock and roll or hell, any sort of pop music, you owe it to yourself to see this. It will change your outlook on music – in a good way – forever.

REASONS TO GO: Amazing music and spiritually uplifting. Everything a documentary should be.

REASONS TO STAY: If musical documentaries don’t interest you…

FAMILY VALUES:  There are a few swear words and some brief nudity.

TRIVIAL PURSUIT: Producer Gil Friesen, the former head of A&M records, came up with the idea and title after attending a Leonard Cohen show with his friend Jimmy Buffett. Unfortunately, Friesen passed away shortly before the film debuted at Sundance earlier this year.

CRITICAL MASS: As of 4/6/13: Rotten Tomatoes: no score yet. Metacritic: no score yet; the film has appeared at Sundance but won’t see theatrical release until June 14th but frankly, I don’t see critics not falling in love with this early Oscar contender.

COMPARISON SHOPPING: Young @ Heart

FINAL RATING: 10/10

NEXT: Nancy, Please and more from the 2013 Florida Film Festival