WISE GUY: DAVID CHASE AND THE SOPRANOS (2024, doc)

September 6, 2024

Greetings again from the darkness. Being the creative force behind what many consider to be the best TV show of all time – one that changed the face of television – is both a blessing and a burden. David Chase is that man, and his often dour disposition hides the creative genius behind “The Sopranos” (1999-2007). Oscar winning documentarian Alex Gibney (TAXI TO THE DARK SIDE, 2007; ENRON: THE SMARTEST GUYS IN THE ROOM, 2005) re-creates Dr. Melphi’s office for his sit down with Chase, and it’s a smooth move to encourage Chase to open up in the same setting where his creation, Tony Soprano, often let his guard down. This is not really meant as an introduction to garner new fans for reruns, but rather as a tribute to David Chase and a peek behind the curtain for hardcore fans.

Don’t worry … it’s not three hours of two guys talking. Gibney complements Chase’s insight with a treasure trove of clips and interviews and background details, really serving up a deep dive for those who considered this show to be must-see TV. Chase actually quotes one of the best lines from the series when he says, “’Remember when’ is the lowest form of conversation”. By the end of the first (of two) part, many will be amazed at just how much of the show was inspired by David Chase’s actual life and large Italian family. You might also be amazed at how fragile the environment can be for even the most successful of TV shows.

Chase lets us in on some personal details, and nothing is more personal than his proclamation, “My mother was nuts.” Fans will eat up the segment on Nancy Marchand, the veteran actor who played Livia, Tony’s mother. Chase said Ms. Marchand just “had it” (what he wanted for the character based on his own mother). It’s also interesting to learn that Chase’s early career aspirations were for movies, not television. In fact, he envisioned this as a movie starring Robert DeNiro and Anne Bancroft.  Of course, no one would back him, and when he converted it to a series, none of the networks had an interest either. It took upstart HBO, who at the time was only beginning the transition from Movies and Sports to series. The reception of “Oz” (1997) and “Sex and the City” (1998) set the table for HBO to give the green light to the risky venture that itself eventually set the table for shows such as “Breaking Bad”.

The conversation between Gibney and Chase is interspliced with clips from the show, as well as family video and pictures. Chase walks us through how the main characters were cast, and it’s fascinating to watch the rough cuts of auditions – some who made it, and some who didn’t (including former Cornell star RB and “Hill Street Blues” actor Ed Marinaro). This gives us a true behind-the-scenes glimpse at how things came together. We also hear from some of the show’s writers who explain just how stressful things could get in the writers’ room, even though HBO gave them significant creative control.

There are segments featuring Michael Imperioli, Steve VanZandt, Lorraine Bracco, Tony Sirico, and Drea de Matteo. Perhaps the most enjoyable is watching Edie Falco (who was the last one cast in the principal cast) as she explains there were no “trigger warnings” for the show. She states it was just like real life, complete with racism, sexism, misogyny, and violence. It’s hilarious hearing how sensitive Sirico was about his hair, and Drea walks us through her character’s ending – just after Lorraine Bracco explains what happens when David Chase invites you to dinner.

There are clips of the infamous “ducks” from the pilot, and Chase comments on the critical raves that immediately rolled in – plus the pressures of additional seasons. Writer-Producer Terrence Winter joined the show in the second season, and he’s interviewed here. Winter has since gone on to write and/or produce projects such as “Boardwalk Empire” and THE WOLF OF WALL STREET (2013), the latter of which got him an Oscar nomination.

The deaths of Nancy Marchand and series star James Gandolfini are handled with grace, including a clip of an emotional Chase speaking at Gandolfini’s funeral. We hear about the toll playing Tony took on Gandolfini, and how some of the cast were there for him in times of darkness and need. Gandolfini died in 2013 at age 51 from a heart attack. It’s interesting to learn that Chase only directed two episodes himself – the first and the last. And speaking of the finale, we see clips of Holsten’s and hear “Don’t Stop Believin” while reliving how that finale shocked viewers and generated so much discussion. Chase addresses this by saying, “The truth is …”

Premiering on HBO/Max on September 7, 2024 (Parts 1 and 2)

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Posted by David Ferguson

MERCHANT IVORY (2024, doc)

August 29, 2024

Greetings again from the darkness. “A Merchant Ivory film” became a colloquialism when discussing certain films from the mid-1980’s and continuing for about twenty years. Of course, they weren’t all actual Merchant Ivory films … though many tried to be. Documentarian Stephen Soucy has delivered quite a tribute to the filmmakers and the two men. Although from the beginning, Soucy posits this as a four-headed troupe, not two-headed.

The opening statistics show, between 1961 and 2007, Ismail Merchant produced 42 films, James Ivory directed 30 films, Ruth Prawer Jhabvala wrote 23 films, and composer Richard Robbins scored 21 films. With so many Oscar nominations for his films, it’s interesting to note that producer Merchant never took the gold statue. It should also be noted that Ivory is the only surviving member of the foursome. Merchant died in 2005. Robbins died in 2012. Ruth died in 2013. It’s 96-year-old James Ivory who is still active today, and even sits for an interview for the film.

Soucy divides the film into six chapters, but the film is so well structured, the chapter headings aren’t even needed to help us stay on track. We hear how Merchant and Ivory first met, and early on Soucy includes interviews from actors such as Helena Bonham Carter, Hugh Grant, Emma Thompson, a prickly Vanessa Redgrave, Rupert Graves, Sam Waterston, and Simon Callow to offer insight into the challenging projects. Actors rave about the script while relaying the difficulties in working with such low and tight budgets. Merchant was constantly cutting costs while simultaneously working to raise money during productions.

Much of the insight revolves around the divergent personalities of Merchant and Ivory. Their relationship was volatile both on set and off, professionally and personally. Being “secretly” gay in New York during the 1960’s would be challenging enough, and we then learn that Merchant was a charming rascal (sometimes con man), while Ivory was a meticulous craftsman. If not for Ivory’s professionalism and Merchant’s cooking, the sets may have been even more explosive.

As movie goers, we aren’t privy to that extraneous stuff. Instead, we see the scrumptious sets and stunning costumes complementing rich stories and superb acting. So much of what Soucy presents here is new to us as film lovers. Additionally, it’s wonderful to learn more about Oscar winning writer Ruth Prawer Jhabvala, who excelled at adapting the works of EM Forster for the big screen: A ROOM WITH A VIEW (1985), MAURICE (1987), and HOWARD’s END (1992). And yes, she wrote the screenplay for THE REMAINS OF THE DAY (1993), which won no Oscars going up against the magnificent SCHINDLER’S LIST. Her daughter Ava is a contributor here.

Soucy tells us there were 15 films before A ROOM WITH A VIEW, which changed everything for the filmmakers and partners. It’s truly fascinating to see clips from their early films and hear the stories about how those projects came together. There was, of course, criticism to go with the accolades, as their movies were referred to as the “Laura Ashley” school of filmmaking. And frequent costume designers (and multi-Oscar winners) Jenny Beavan and John Bright add that in addition to the budgetary concerns, the expedited timeframes and staff shortages brought more strain. Personal drama is brought to light, especially as it pertains to composer Richard Robbins, and his relationships with both Merchant and Helena Bonham Carter. The walls of that country estate could surely tell some tales.

After Merchant’s death, it appeared that THE CITY OF YOUR FINAL DESTINATION (2009) would likely be Ivory’s final film project. Instead, he won an Oscar for adapting the screenplay (from Andre Aciman’s novel) for CALL ME BY YOUR NAME (2017), and has continued to write and direct. Ivory’s memoir is quoted here. The chronological look at their films is interesting enough, yet it’s the behind-the-scenes insight and personal details that set this apart from many documentary tributes. Even as it concludes, in our minds we hear the voice of Merchant, “Shoot, Jim! Shoot! Shoot!”

Opens in select theaters August 30, and expanding on September 6, 2024

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Posted by David Ferguson

SUGARCANE (2024, doc)

August 29, 2024

Greetings again from the darkness. Whether the phrase ‘systemic abuse’ applies here is hardly worth discussing. The facts are that physical abuse, verbal abuse, cultural abuse, and sexual abuse occurred regularly over many years in the Catholic-run residential schools for indigenous children, both in the United States and Canada. Indigenous filmmaker Julian Brave NoiseCat has teamed with experienced documentarian Emily Kassie to bring this story to light.

This National Geographic documentary mostly narrows its focus to St Joseph Mission near Williams Lake, British Columbia. The school closed in 1981, but it was originally one of many secretive and segregated residential schools opened to deal with “the Indian problem” in Canada. We are informed there were 139 schools in Canada and 408 in the U.S. What we notice from the start is that the film is deliberately paced to emphasize the lives of quiet desperation so many have led.

In 2021, a discovery of approximately 200 unmarked graves at a different school led to a dedicated crew going deeper on research, and finding records of reported abuse and cover-ups, as well as additional unmarked graves at St Joseph. It turns out these schools required the students to speak only English, convert to Catholicism, and basically erase their native culture – all while referring to them by numbers, rather than names.

Two very personal stories are followed here. One involves co-director Julian as he re-connects with his father Ed Archie NoiseCat. Ed is one of many who never knew the truth of their past and have mostly buried the memories of the mission. With Julian’s work, not only do the two create a father-son bond, they also discover a stunning detail for Ed – involving a shoebox and an incinerator. The other personal story here involves former Chief Rick Gilbert, who along with his wife, uncovers a truly shocking connection in his family tree. We also follow Rick to Vatican City where the Pope reads a prepared statement filled with words, but no action.

The former students are referred to as “survivors”, partly because so many didn’t. And while we can see and feel the pain and quiet suffering these folks are carrying, we learn that history and those memories continue to take lives. The history of abuse within the Catholic Church is not limited to white kids, it’s just the indigenous history hasn’t received the same publicity. The suppressed memories and search for roots is so important, and yet so many unanswered questions remain for survivors and descendants. And no one has been held accountable for the atrocities. Infanticide, abuse, cruelty, and humiliation do not seem to fit the journey of these dignified and quietly suffering folks, but there is an uplifting element with Ed and Julian, father and son.

In limited theaters beginning August 30, 2024

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Posted by David Ferguson

ELECTRIC LADY STUDIOS: A JIMI HENDRIX VISION (2024, doc)

August 8, 2024

Greetings again from the darkness. Usually a story about building a recording studio likely would hold no interest to anyone who wasn’t an audio geek. But attach Jimi Hendrix to the story and suddenly all music fans are curious to learn something new about the guitar god. Filmmaker John McDermott has completed numerous Hendrix projects in the past, and likely knows as much (or more) about Jimi Hendrix than any other living being.

Jimi’s original vision was to create an experimental nightclub, not dissimilar to Cerebrum, the failed Greenwich Village club he had frequented. He hired architect John Storyk to design the place, and soon enough the plan evolved into a cutting edge recording studio, with input from Hendrix manager Michael Jeffrey, and sound engineer extraordinaire, Eddie Kramer. Many of those involved, including Storyk, offer insight into what the process was like.

Storyk is not the only one interviewed. We also hear from Kramer, studio manager Jim Marron, and members of the Jimi Hendrix Experience, bassist Billy Cox and drummer Mitch Mitchell. However, it should be noted that this is not a biopic on Hendrix, although it’s fascinating to see some of the clips of Hendrix performing and have Eddie Kramer break down some of the sound for us. The studio is the star here, and singer Steve Winwood offers the perspective of a performer who recorded on site.

From rubble to a world class recording studio, Electric Lady Studio has long outlived Jimi Hendrix, and is assumed to be the first artist-owned commercial studio. Known to have recorded there are stars such as John Lennon, Stevie Wonder (clips included), Carly Simon, AC/DC, Lady Gaga, Beyonce, and Taylor Swift. Located at 52 W 8th Street in New York City, the studio remains active today, despite the initial uncertainty after Hendrix passed in 1970.

McDermott certainly makes the studio’s origin story an interesting one to follow, and there is enough new information included here that even Hendrix fans will be impressed. The end features a montage of records cut in this musical mecca over the last five years, and Jimi reminds us to continue, “Peace and Happiness and all that other good s***.”

In theaters beginning August 9, 2024

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ELIZABETH TAYLOR: THE LOST TAPES (2024, doc)

August 1, 2024

Greetings again from the darkness. Not many people are famous for their entire life. Elizabeth Taylor came about as close as one can. Director Nanette Burstein uses 40 hours of recordings that resulted from journalist Richard Meryman’s 1964 interviews with 32-year-old Ms. Taylor. This was at the height of her fame and popularity.

Liz claims her infamous “violet” eyes are actually “dark blue”. She is quite forthcoming during the recordings, and we can’t even imagine a top-tier celebrity today offering this much personal insight … outside of the obvious blabbering we are subjected to on social media and talk shows. Liz became famous at 10 years old when she starred in LASSIE COME HOME (1943) and was a cinema sex-symbol at age 16 when she played the beautiful wife of Robert Taylor (12 years her senior) in CONSPIRATOR (1949). We hear Liz recall her idyllic childhood, yet also describing herself as a “terrified little girl” during those early Hollywood years.

In addition to the recordings which give the documentary a certain structure, director Burstein also includes a treasure trove of personal photos, home movies, archival interviews, and archival footage. A slew of photos of her famous dates stream by – even including football star Glenn “Mr. Outside” Davis. Liz was only 18 years old when she married Conrad “Nick” Hilton Jr, heir to the hotel magnate. She explains how she locked herself in the bathroom on her wedding night, and was so nervous, it took 3 days to consummate the marriage. Of course, Elizabeth Taylor is as famous for her marriages as she is her acting. She wed 8 times to seven different men. The most interesting of those are detailed here, including the plane crash death of true love Mike Todd, which led to Liz wooing singer Eddie Fisher from her friend Debbie Reynolds. What a scandal!

Despite the marriages, she also had close friends – some of whom were closeted homosexuals in order to protect their career and image. Roddy McDowell, Rock Hudson, Montgomery Clift, and James Dean were all close to Liz. She details the shock at Dean’s car crash death and notes she had been cruising with him in his Porsche earlier that same day.

During the interviews, Liz makes the point a few times that it was so important for her to be accepted as an actress, not just a movie star. She expresses a humble pride in being the first actor to be paid one million dollars for a role, but then things went sideways for CLEOPATRA, when Liz was hospitalized with pneumonia so serious it required a tracheotomy. Production on the film was delayed more than two years, and it was during her recovery that she won the first of her two Oscars. However, it’s surreal hearing her bash BUTTERFIELD 8 as an inferior film. When production on CLEOPATRA re-started, she met her real life Marc Antony in actor Richard Burton, thus kicking off their years-long on-again/off-again intense relationship (including two marriages).

Director Burstein flashes clip after clip to convince those who don’t already know that Elizabeth Taylor was an actor, a movie star, and a cultural icon. The film is quite a tribute, though it kind of blows through the later years of a couple of marriages, rehab, and weight gain. She does commit time to Liz’s relentless work as an AIDS activist, including her support of long-time friend Rock Hudson. So many of Liz’s memorable performances came in 1967 and earlier (some of those not mentioned above are NATIONAL VELVET (1944), FATHER OF THE BRIDE (1950), A PLACE IN THE SUN (1951), GIANT (1956), CAT ON A HOT TIN ROOF (1958), and of course, WHO’S AFRAID OF VIRGINIA WOOLF? (1966, her second Oscar). Despite her career peaking in that era, Elizabeth Taylor remained a star until her death in 2011 at age 79.  Nanette Burstein has delivered a worthy tribute.

Premieres August 3, 2024 on HBO and MAX

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Posted by David Ferguson

GETTING IT BACK: THE STORY OF CYMANDE (2024, doc)

July 23, 2024

Greetings again from the darkness. Discovering a new band that plays the kind of music you love is exhilarating. But what if that band has been around for years? And what if the bands you listen to were heavily influenced by this mystery band … and may have even sampled their work in songs? Tim MacKenzie-Smith profiles “the greatest band you’ve never heard of” with this documentary on the 1970’s British funk band, Cymande.

Where are they from? Where did they go? Why weren’t they more successful? All good questions that MacKenzie-Smith tackles with help from Cymande superfans like producer Mark Ronson and My Morning Jacket’s Jim Jones, the latter who describes his love of the Fugees “The Score” in which they sample Cymande’s “Dove”. It’s this and other examples that allow us to discover the band’s influence on the beginning stages of hip-hop. It also helps makes sense of an included quote, “some music is bigger than music.”

With most early band members hailing from the West Indies, they were never accepted in the U.K., and discrimination and racism clearly played a part in blocking their success. The band did find more popularity in the U.S. thanks to their fresh and original music, but one of the band members admit they were beaten down by the system. MacKenzie-Smith includes many interviews with band members, most of whom are now in their 70’s. They come across as likable guys carrying almost no bitterness.

Of course, Cymande should be well-known for their contributions and influence over the years, and the film features much of their music, as well as clips from live performances. It’s a smooth groove with a fantastic bass line, and it’s the music itself that helps us understand how it contributed to club and dance music of the 1980’s and 90’s. The film made the festival rounds in 2022 and is now getting a limited theatrical release in conjunction with the band re-forming and touring. Perhaps that lucky break is finally happening all these years later, but regardless, these guys will be playing music … as it should be.

opens in NYC July 26, 2024

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SORRY/NOT SORRY (2024, doc)

July 11, 2024

Greetings again from the darkness. In the twisted nature of many humans, there is a need for heroes and a corresponding sense of satisfaction as those heroes are knocked from their pedestal of idolization. Louis C.K. may not have been a hero, but as a comedy genius, he had reached the pinnacle of his profession while building a massive fan base. It may seem that five brave women knocked him from the proverbial pedestal, but the truth is … his own arrogance and behavior did so.

The purpose of this documentary from co-directors Cara Mones and Caroline Shu is not to re-hash the sordid details of Louis’s actions, but rather to ask … what now? Fellow comedian Michael Ian Black eloquently presents his considered thoughts on this, as do others who were more directly involved. The film draws heavily from the November 2017 New York Times article written by Melena Ryzik, Cara Buckley, and Jodi Kantor, each of whom share their view here. There are also interviews with others, including Jen Kirkman and Megan Koester. I believe Abby Schachner is the only one of the original four who were named to appear in the film, however it seems quite clear that Louis C.K.’s tendencies were as well-known throughout the industry as those of Harvey Weinstein and Bill Cosby. And yes, his defenders make the argument that his actions were nowhere near the level of those two figures of the #MeToo movement.

As has been pointed out many times in these cases, the sexual predator aspect is not the only issue. The abuse of power is every bit as crucial. The film is divided into seven “parts”: Louis, Jen, Open Secret, These Stories are True, Abby, Comeback, and Cancelled. In contrast to Weinstein and Cosby and so many others, when publicly confronted with the accusations, Louis C.K. stated, “These stories are true.” Much of the fallout was from his fans who went after the accusers on social media. Louis C.K. disappeared from public life for about 9 months before beginning his comeback … using his history as fodder for joke-telling.

Louis C.K. being ‘cancelled’ ended when he won a Grammy for his comedy album. He hasn’t yet been welcomed back to mainstream Television or Film, but his stand-up tours remain popular. The film serves to ignite dialogue and debate on a tough topic, and we find ourselves admiring those who stepped up to shine the light. Although it cost her a career, respect goes to Megan Koester who states, “I don’t want to work with those who blindly ignore morality.” It’s a statement on which too few of us seem to stand with her. We must each answer for ourselves … What now?

In theaters beginning July 12, 2024

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Posted by David Ferguson

STEVIE VAN ZANDT: DISCIPLE (2024, doc)

June 20, 2024

Greetings again from the darkness. The tagline is “Artist. Activist. Renegade.”, yet somehow after spending 2.5 hours watching this documentary from Bill Teck, we realize there is even more to Steve Van Zandt. Or maybe you know him as “Miami Steve” … or even “Little Steven”. Having accomplished so much through various avenues, we are left with nothing but respect for the man.

Bruce Springsteen fans know him as Miami Steve of the East Street Band (and Bruce’s longtime buddy). Other music lovers know him as the leader of Little Steven and the Disciples of Soul. Some remember him as the driving force behind the “Sun City” song and collaboration. Still others know him as an actor playing Tony’s consigliere Silvio in “The Sopranos”, or as a mobster in “Lilyhammer”. What we learn is that he’s also an incredibly talented songwriter, a highly sought-after producer and arranger, and he was the saving grace behind Springsteen’s “Tenth Avenue Freezeout” on the breakout album. By any name, Van Zandt is not one to stand on his (many) past accomplishments.

Documentarian Teck loosely breaks down the timeline of Van Zandt’s life and, in keeping with the Disciple title, presents it in three ‘Books’: Salvation, Revolution, Revelations. Much of the run time is spent in Book I, where we recap the early days of Asbury Park, New Jersey, and local venue, The Stone Pony. Some incredible clips are included showing live performances of Southside Johnny, Van Zandt, and of course, Springsteen. It’s also here where we learn the origin of the nickname “Miami Steve”. It didn’t take long for Van Zandt’s extraordinary talent as an arranger to shine through, and his ambition and creative forces drove him to leave the E Street Band in 1983 to form his own identity. It’s also in this stage where he married Maureen in a ceremony officiated by none other than music icon Little Richard (video), and including singer Percy Sledge.

Book II recounts Steven’s foray into activism and political activities, namely Apartheid in South Africa. He wrote the song “Sun City” and organized the iconic participants of the movement that ultimately contributed to the release of Nelson Mandela. As impressive as his efforts were, and as respected as he was, Van Zandt readily admitted, “I don’t want to be a politician.”

Aptly named Book III: Evolution took Van Zandt to 1999, where not only did he reconnect with Springsteen and rejoin the E Street Band, he also accepted creator David Chase’s offer to take a role in “The Sopranos”. That’s a pretty good year. It’s in Book IV: Revelations where Van Zandt originated his popular radio show, “Little Steven’s Underground Garage”, where he keeps rock history alive, and he also brought 1960’s band The Rascals to Broadway. In 2021, Van Zandt’s memoir, “Unrequited Infatuations” was published. Did I mention this isn’t a man to sit back and chill?

Bill Teck solidifies the admiration Van Zandt has by including interviews with the likes of Bruce Springsteen, Paul McCartney, Southside Johnny, Dion, Gary US Bonds, Mike Stoller, Darlene Love, wife Maureen, Peter Gabriel, Eddie Vedder, Bono, Joan Jett, Jackson Browne, Reuben Blades, Jon Landau, and David Chase. The interviews and clips and photographs are well done, plus he allows Van Zandt to contribute his own thoughts. This is terrific insight, and the film ends perfectly showing Bruce and Steve teaming up for “No Surrender”.

Airing on HBO and streaming on MAX beginning June 22, 2024

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Posted by David Ferguson

GEOFF MCFETRIDGE: DRAWING A LIFE (2024, doc)

June 20, 2024

Greetings again from the darkness. Over the years, I’ve managed to maintain zero artistic ability, and yet my admiration and respect for artists has continued to grow. It’s quite likely you’ve never heard of Geoff McFetridge, and equally likely that no one you know has either. Leave it to commercial director and artist Dan Covert to recognize that a fellow artist’s story is worth telling.

With interviews from film directors Spike Jonze (also an Executive Producer) and Sofia Coppola, and photographer Andrew Paynter, we get a real sense for the admiration McFetridge draws from other artists. His wife Sarah also gives us her perspective on her husband as an artist, father, and partner, and yet we find Geoff’s own introspection to be the most descriptive and informative. This is a man who doesn’t shy away from self-analysis … which makes sense given his personal mission.

For an artist as prolific as McFetridge, it’s not surprising to learn that his childhood habit of “drawing all the time” has followed him into adulthood. It’s really more of an obsession than a habit, and he’s managed to turn it into a profession. Born in Canada, he made the decision to enroll at the California Institute of Arts, and now can be described as melding art with commerce. His work has adorned ads and products for such companies as Nike, Apple, and Pepsi (among many others).

Surprisingly, it’s not his brilliant design work that is most interesting. Rather it’s Geoff’s constant pursuit of meaning in everything he does – in art, while running ultra-marathons, and in being a husband and father to two daughters. This is a man who pushes himself constantly. Down time is not part of his plan. He used art as a way out and way to have control as he searched for his place. He always had the colors and form (geometry on acid), and his wife Sarah is the one who instilled emotion into his work.

McFetridge is highly respected by other graphic artists, while remaining virtually unknown to the general public. His greatest gift is not a steady hand, but rather an innovate mind tied to a tireless work ethic. It seems strange to say, but he’s inspirational in the way he seeks meaning – giving us the desire as well. On the surface, one would expect a biopic on an under-the-radar graphic artist to be a short film, but director Covert understood that a full 80 minutes would better serve the audience. He was right.

In NYC theaters on June 21, 2024 and VOD via Gravitas beginning July 2, 2024

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Posted by David Ferguson

THE BEACH BOYS (2024, doc)

May 24, 2024

Greetings again from the darkness. Casual fans of The Beach Boys music are attracted to the light-hearted and fun songs that are always good for a burst of feel-good energy. More attuned fans remain in awe of the intricate vocal harmonies … rarely matched by other bands. Co-directors Frank Marshall and Thom Zimney have successfully presented the story of The Beach Boys without either over-the-top gushing or digging too deeply into the dirt.

By going all the way back to the childhood of the Wilson brothers, the film details how singing in the backseat of the family car began the transformation into a supergroup that changed pop music forever. Oldest brother Brian has always been accepted as the musical ‘genius’, while Carl was inspired to pick up a guitar after hearing Chuck Berry, and rebel Dennis played the drums almost out of necessity. Cousin Mike Love wrote many of the lyrics for Brian’s music and became the band’s lead singer, while good friend (and Brian’s football teammate) Al Jardine’s exceptional voice was a natural fit. We learn it was Al’s mother who fronted the boys $300 to rent instruments after hearing them sing together (smart lady). We also learn that Murry Wilson (the boys’ father) sold his business to manage the group towards gigs and their first record deal.

It’s really that history – the foundation of the band – that is the most interesting aspect of the film. For the most part, it tracks chronologically through the album releases and tours, while emphasizing the importance of the band bringing beach culture to the masses. Hearing about their musical influences: The Four Freshman, Dick Dale, The Ventures, and Phil Spector, allows us to understand exactly how things progressed so quickly.

The filmmakers (with impressive music doc and music video backgrounds) mention but opt not to dwell on the darker aspects of the band’s history. The commercial failure of “Pet Sounds” (now considered a masterpiece) played a significant role in Brian’s emotional fade. Father Murry’s inexplicable decision to sell off the band’s publishing rights prevented any of them from reaching the financial status they deserved. As was commonplace for the time, drugs were detrimental to individual band members as well as the band’s productivity. Deciding to pull out of the Monterrey Pop Festival (no real explanation given) resulted in the band becoming irrelevant for a few years. Mike Love sued the band for songwriting credits, creating a huge rift. These points, along with Dennis’ happenstance involvement with Charles Manson, are all mentioned yet given no real depth … which is fine for a documentary working so hard to stay positive.

As a conclusion, Capital Records’ release of the double-album “Endless Summer” injected new life and popularity into the band (getting them past that earlier ‘rivalry’ with The Beatles), and the finale is a shot of a recent reunion with surviving band members Brian Wilson, Mike Love, Al Jardine, and Bruce Johnston at Paradise Cove … with no insight into what was discussed.

The film begins streaming on DISNEY+ on May 24, 2024

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Posted by David Ferguson

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