Flick of The Day: Some Kind of Monster

Music documentaries can be a bland affair. So many of the recent offerings feel more like extended promotions for the artist involved with very few getting to the heart of the creative process or of the artists career. This is largely due to the fact that modern artists are smart enough or indeed their management are smart enough to ensure that they are not see in their true guise,  no matter how childishly egotistic it may be. Gone are the days of watching Mick Jagger standing very still as the violence erupts around him at Altamount in the Maysles brothers Gimme Shelter or the gradual unravelling of Bob Dylan: Folk Hero in D.A Pennebaker's Don't Look Back. It is a delight then to announce that American metal band Metallica are just about gormless enough to allow the camera's access to their inner workings during a particularly difficult period. For comedy value alone, today's flick of the day is Some Kind of Monster.

Some Kind of Monster

In 2001, American rock band Metallica who have sold 90 million records in their 30 year career found themselves at a crossroads. Their long time bass player had quit the group just as they were to start recording their first new album in 3 years and the camera crew follow them for the next two years as they struggle to get along with each other and record an album. Their management bring in therapist to help them deal with each other at a cost of $40,000 a month, with ridiculous consequences. The lead singer, James Hetfield checks himself into a rehab clinic and his bandmates do not see him for the best part of a year. The drummer, Lars Ulrich leads an ill judged campaign against internet file sharing. All the while they bicker like children and reveal themselves to be extremely self centred and controlling. Oh, yes and eventually they record a so-so album sans guitar solos and recruit a new bass player. 

The most compelling aspect of the film is how unintentionally revealing the band are of themselves. Ulrich comes across as deeply self absorbed and somebody who enjoys the wealth his music gives him as much as anything else despite his attempts to position himself otherwise. There is one scene in particular where he plays the new album for his father who rubbishes it and their relationship is particularly revealing. He struggles to get along with his lead singer at one point launching into a rant about how controlling he is before getting nose to nose and screaming "Fuck!". Hetfield is sombre throughout yet deeply controlling. Upon his return from rehab, the group switch to a noon to 4pm work schedule to allow him time with his children however Hetfield decrees that nobody else may review his vocal recordings after he leaves. All the while, the guitarist, Kirk Hammett remains quiet and only once does he burst forth to complain that the other two do not listen to him.

This aside, the band often come across as completely ridiculous. Some scenes would be fit for This Is Spinal Tap. There is one scene in which they decide that nobody is allowed  to comment on what anybody else is working on and their round table lyrics writing sessions would leave you with the impression that the creative process is not what it once was, with some laughably bad writing. My personal favourite is the scene where they are required to record a promo for a national radio competition by their management which they feel is beneath them, asking would Bono and The Edge do it before proceeding to take the piss out of it.

                                            [Metallica is asked to record a radio promo] 

                          Lars Ulrich: Hey it's Lars from Metallica. I'm about to stick 50 grand up your ass... 

                                            James Hetfield: ...One dollar at a time.

If the band do not cover themselves in glory then their therapist, Phil makes himself look very foolish indeed. Sporting a bizarre choice in knitwear, he spouts inane babble and seems determined to keep them in therapy despite their requests to cease. Whether they actually learn anything about themselves is a moot point.

All in all, a compelling way to spend a couple of spare hours, whether you are a fan of Metallica and their music or not. It is great psychological drama and would be compelling if they were learning impaired garbage collectors rather then wealthy musicians. 

Flick of The Day: The Blues Brothers

I loathe musicals. All that needless singing to advance the plot drives over the edge. There have been legions of Broadway shows that have been adapted for the screen down through the years and I struggle to find a single positive thing  to say. They all seem do overly serious and taken with themselves. However, for a combination of music and performance with a healthy dose of comedy, I must heartily recommend The Blues Brothers as today's flick of the day.

The Blues Brothers (Widescreen 25th Anniversary Edition)

Starring the late great John Belushi and Dan Aykroyd as the eponymous brothers Jake and Elwood, this film is a modern classic from director John Landis. The film opens as Jake is released from prison. Together the two are soon on a "mission from god" in the form of the Nun in charge of their childhood orphanage, which needs $5,000 to stay open. In an attempt to get their band back together and raise the funds, they embark on a madcap cross country trek pursued by State Troopers, Neo Nazis and a murderous Carrie Fisher. Along the way they bump into some legends of blues and soul music including Cab Calloway, James Brown, Aretha Franklin and Ray Charles. 

The plot is frail to say the least but its carried through by some very energetic musical numbers and by the natural charm of the leading men. John Belushi was never cooler then in this role and it acts as a great reminder of the raw talent that was snuffed out far too young. The other major selling point is the fantastically choreographed car chases with one in particular destroying an entire shopping mall. 

Elwood: Illinois Nazis. 

Jake: I hate Illinois Nazis.

The zany humour at the heart of all John Landis scripts has aged well and any dull moments are forgotten as the film roars to a spectacular finale.

All in all, this is a very enjoyable film which just about carries itself over its 130 minute running time. The various cameo appearances by the great and good of soul and rhythm-and-blues are entertaining and give the film some much needed authenticity. It's funny, lively and one of the few film to come out of Saturday Night Live which has stood the test of time. Well worth a look.

Flick of The Day: 24 Hour Party People

Capturing the zeitgeist and atmosphere of a musical era is a hard task for any film-maker. Many have tried and failed, whether it be through poor impersonations of iconic characters such as John Carpenter's Elvis or the downright tedium of Oliver Stone's The Doors. Perhaps the best attempts have been documentaries, from 1970's Woodstock to 1978's The Last Waltz, there is a rich history of musical documentaries and concert films. It is interesting then to note the approach taken by Michael Winterbottom in today's flick of the day, 24 Hour Party People, documenting the rise and fall of the Manchester music scene from the late '70s to the early 90's. Part documentary, part drama, it is a stunning portrayal of a time and a place.

24 Hour Party People

Narrated by and starring Steve Coogan as Tony Wilson, a television journalist from Manchester, dissatisfied with his job and believing it to be beneath him, he yearns for something more important. In 1976, he attends a concert by the seminal Punk band the Sex Pistols. Although only attended by 42 people, Wilson views this as a historic event as so many of the biggest names in the Manchester music scene were formed by the people at that concert, bands like Joy Division, The Buzzcocks, New Order, and even Mick Hucknall of Simply Red fame. Wilson is inspired to set up his own club night, to give these bands a venue, and ultimately forms a record label, the infamous Factory Records. The films charts the rise and fall of Factory and its music in an irreverent manner, frequently taking liberty with the facts, with Wilson breaking the fourth wall to comment on events as they happen and intercutting the actors with concert footage of the era. Despite having some of the biggest bands of the era, this is a not a tale of money and wealth. If anything, Factory Records is perhaps best remembered for its ability to lose money in the name of art. From the creation of the mammoth Hacienda Nightclub which ultimately brought Wilson's label down to the expensive sleeve for New Order's Blue Monday single which meant they lost money on every copy sold, it is obvious that these were not businessmen but hedonists. 

This is just some of the wonderful detail that give this tale the colour that makes it so interesting. It helps of course that there are so many colourful characters to populate it. There is the depressive genius of Ian Curtis, lead singer with Joy Division, the loutish junkie Shaun Ryder of The Happy Mondays and Wilson himself, always entertaining despite being an overtly pompous character at times and always over the top and bombastic. The film doesn't shy away from the fact that so much of this music scene was drug fuelled, indeed Wilson notes at one point that the reason the Hacienda club lost so much money was that nobody bought drinks, just Ecstasy. 

Tony Wilson: You know, I think that Shaun Ryder is on a par with W.B. Yeats as a poet. 

Yvette: Really? 

Tony Wilson: Absolutely. Totally. 

Yvette: Well, that is amazing, considering everyone else thinks he's a fucking idiot.

Shot with digital video in a restless yet realistic style, Winterbottom succeeds in making drab late 70s Manchester interesting and colourful. Coming in at under 2 hours, the film isn't long enough to begin to grate with Wilson's self deprecating humour carrying the film through its lesser moments. Wilson's conviction  that the likes of the sub-moronic Happy Monday's were poets is undoubtedly a debatable one. This is the point of the film though, Wilson never cared for anyone else's opinion and this comes across throughout the film, he believed all the lines he sells people. 

The end when it comes is quick. Like all great cultural changes, it was over in the blink of an eye. Then the recriminations and hubris begin. However, its the rise and fall that makes this an interesting film and well worth a look. Carried by a strong performance from Coogan and a great supporting cast including Paddy Considine and Andy Serkis, this excellently captures the  Manchester scene. 

Flick of The Day: That Thing You Do!

Actors who turn their hand to directing can be a bit at of a mixed bag. Some actors seem to be born to it and produce masterpieces their first time out such as Charles Laughton's magnificently eerie The Night Of The Hunter. Others like Robert De Niro have been less successful, anyone who saw The Good Shepherd can attest to that. I am happy then to report that Tom Hank's turn behind the camera is a successful one. Today's film is That Thing You Do!

That Thing You Do! - Tom Hank's Extended Cut (Two-Disc Special Edition)

Set during the Summer of 1964, Hank's effort tells the tale of a band from a small town in Pennsylvania, The Wonders and their brief brush with fame. After their original drummer breaks his arm, the band ask local bohemian jazz man Guy Patterson, to step in and play the drums at a local talent contest. Guy inadvertently adds an up-tempo beat to their otherwise turgid ballad, creating a hit song and they are soon picked up by talent impresario Mr White, an eminently likeable Tom Hanks. They begin to tour the country, playing state fairs as their fame grows and the song gradually moves up the national charts. The apex of their fame comes with an appearance on national television, a scene which apes The Beatles famous performance on The Ed Sullivan Show. It all begins to fall apart for them thereafter, and the break-up is as interesting as the coming together.

The band members are all very likeable and well cast. Johnathon Schaech is Jimmy, the egotistical musical "genius". The always lovely Liv Tyler is his devoted girlfriend Faye. Steve Zahn, so often irritating is the lead guitarist who spends his time chasing every women in sight. Hanks captures the character of the svengali manager so well, managing the band with the seem discipline that Brian Epstein might have applied to The Beatles. The film is bright and upbeat and seems to capture the spirit of the early 1960's with pastel colours everywhere. A time when the Vietnam War had yet to take hold on the nation's consciousness and the music was bright shiny and adored by legions of young screaming girls. There is something endearing about this period and even if the story didn't live up to its setting, this would still be compelling viewing. It is a delight then to report that this is a good yarn. Hank's has managed to craft characters that are both likeable and interesting. It helps that the music feels right on the money. Their one hit wonder, That Thing You Do! is a peppy catchy number that will stick with you after the end of the film.

The film ends well, tying up any loose ends and leaving you satisfied that you have had a brief glimpse into a time and place that is now very much in the past. All in all, a fine debut from Hanks and I look forward to his next film as a director, Larry Crowne, set to be released this Summer. The film captures the era well and a compelling tale that will keep you engaged till the credits roll. Throw in some catchy tunes and you have an enjoyable light-hearted film.

Flick of The Day: Singles

As a film-maker, Cameron Crowe has always had his finger on the pulse of popular culture in general and music in particular. From his background as a teenage music journalist which he chronicled in Almost Famous, music has always played an important part in his work and none more so then today's film, Singles.

Singles

Viewed purely as a historical document, Singles is a great chronicle of the Seattle scene of the early '90s and the alternative music scene that would explode into the public consciousness, producing some of the biggest and best bands of the last 20 years like Nirvana, Soundgarden, Alice In Chains and Pearl Jam. Indeed Pearl Jam appear as Matt Dillon's band Citizen Dick complete with Eddie Vedder on drums. There are cameos from some of the band members and the film is packed with a great soundtrack, acting almost as an extra character and perfectly setting the scene for the storyline. By the time of the film's release in 1992, the producers could no longer afford to put Nirvana on the soundtrack because grunge was the biggest thing in the world.

Apartment Block used in Singles

The story revolves around the lives and loves of a group of friends who live in the same apartment building in Seattle. Campbell Scott is Steve, a sensitive soul who works in traffic management and falls in love with Linda, ably played by Kyra Sedgwick. The pair meet at an Alice in Chains concert and fall in love but not without a few bumps along the way. Bridget Fonda, who plays ditsy blondes better then anyone, plays Janet a ditsy blonde who falls head over heels for Cliff, a layabout rocker played with great charm by Matt Dillon.  Indeed Dillon steals the film with some of the best comedic moments. The scene in particular where he installs a new stereo in Janet's car is hilarious.

The tale is told in a fragmented episodic format jumping from vignette to vignette with each of the character's taking a turn narrating their own tale with humour used well to avoid delving too deep into the pain of break-ups because lets face it, there are more then enough doomed romance films out there. This format is suited to the fragmented nature of young love, with people hopping from relationship to relationship. 

As usual with Cameron Crowe, great care is taken with the characters and by the end of the film; you do feel like you know them well. The film is a 100 minute glimpse into their lives and it feels like time well spent. The film is warm and yet honest and while the trials and tribulations of a group twentysomethings is not an original idea, its well done. That's not something that can be said of so many so called romantic comedies. 

Offering a great snapshot of Seattle, its music and cafe culture and telling a heart-warming story along the way, this is another fine film from Cameron Crowe and well worth seeking out on DVD.

Flick of The Day: Almost Famous

At first glance, it would seem the 1970s are best left were they are. Far too many people are willing to gaze back with fondness upon that decades music, fashion, and cinema while overlooking the fact that for every Led Zeppelin there was a Gary Glitter, for every Godfather a Love Story. However such is life, and given this rose tinted view it is perhaps surprising that there have been few attempts by Hollywood to document that decades pop culture and social conventions. Ang Lee's The Ice Storm and Richard Linklater's Dazed and Confused being two notable exceptions until Cameron Crowe's semi autobiographical Almost Famous.

Almost Famous [Extended Edition] [Blu-ray] [2000]

Before becoming a director and screenwriter of some note, Cameron Crowe spent much of his youth as a contributor to Rolling Stone magazine, going on the road aged 15 documenting some of the great bands of the era like Led Zeppelin and The Eagles. It was this experience which drives Almost Famous telling as it does the tale of 15 year old William Miller played with boyish charm by Patrick Fugit, and a Summer spent touring with the fictitious Stillwater as they wind their way across the United States from California to New York. 

This film is packed with a very fine cast including some particularly fine performances from the likes of Philip Seymour Hoffman as real life rock journalist Lester Bangs and Kate Hudson as Penny Lane, the so-called Band Aid whom William falls in love with over the course of the Summer. Any film such as this will of course live and die depending on the believability of the band and this is where Crowe's experience shines through. There is the preening lead singer played with abandon by Jason Lee and the mysterious guitarist, a career best performance from Billy Crudup. There is also the odd drummer and the other guy bass player. All clichés you immediately recognise and relate to. The songs played by Stillwater also ring true, composed as they are by Nancy Wilson of Heart fame.

This is a film you really have to see if you have any interest in the music of the era but it also stands on its own as a tale of growing up. William goes from being the high school outsider to as his sister says at the start of the film, "One day, you'll be cool". It captures the era, the people and the music almost perfectly. Get on the tour bus!