40 WATTS FROM NOWHERE (2025, doc)

February 28, 2025

Slamdance Film Festival 2025

Greetings again from the darkness. Music lovers know very well how radio changed in the 1990’s. Consolidations, mergers, and mandated playlists became the norm. Traveling from city to city and town to town made this abundantly clear. Where once independent stations were keyed in to local culture, corporate radio commanded the airwaves. The exceptions were ‘pirate radio stations’ and Sue Carpenter not only founded one of the best (KBLT), she put together this documentary on how she did it.

By definition, pirate radio is breaking the rules set by the FCC … taking over an open frequency in a market while being unlicensed. Of course, this only works at low power levels, and the film does a nice job of explaining the technical aspects, stopping short of the dizzying specifications required to broadcast. It’s those FCC rules that forced Ms. Carpenter to use Paige Jarrett as her business name – no need to make it easy for someone to track you down. She provides a brief history of her move from San Francisco to the Silver Lake area of Los Angeles, including input from Stephen Dunifer of Free Radio Berkeley. We see archival clips of Mr. Dunifer, as well as a more recent interview.

Most famously, the history of pirate radio must include a tip of the cap to Radio Caroline, the UK pirate radio station that broadcast from ships (plural) as early as 1964. Richard Curtis (loosely) based his 2009 film, THE BOAT THAT ROCKED, on Radio Caroline. Still, it makes sense for Sue Carpenter to focus on her accomplishments with KBLT, as she broadcast from a closet in her small house. It’s fascinating to hear her recall the assistance she received in bringing on DJ’s for the station … musicians and music lovers who thrived on the independent nature and freedom to play the tunes and bands and artists they appreciated. Many of the original DJ’s appear for interviews here and there are enough home movies for us to get the feel for the times.

KBLT broadcast from 1995 through 1998, and not only was it a much needed outlet for the thriving underground and alt-rock music scene, it also carried with it a bit of civil disobedience for those involved. It’s described as going ‘viral in the 1990’s’ (prior to social media). A live, on air, in-studio acoustic performance by the Red Hot Chili Peppers was a highlight, and KBLT has been described as a real life version of PUMP UP THE VOLUME (1990). While those involved muse about what a great time it was, the impact on music remains undeniable.

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Posted by David Ferguson

WILL & HARPER (2024)

January 11, 2025

Greetings again from the darkness. Realistically speaking, there should be more words for ‘friendship’, designating the multiple levels on which ‘being friends’ can occur. If Financial Advisors can have “A” (like Warren Buffett), B, C, and D (like me) clients, then wouldn’t it be reasonable for us to have levels of friendship for those we entrust with our kids and a house key versus those we meet periodically for happy hour, or those we acknowledge in the grocery store with a wave and a smile? OK, so while the viability of friendship by ranking is not likely, this latest from Josh Greenbaum (BARB AND STAR GO TO VISTA DEL MAR, 2021) introduces us to a friendship we can all strive for.

Andrew Steele was the head writer for “Saturday Night Live” from 1995 through 2008. Nominated many times for Emmys and WGA awards, he won an Emmy in 2002. During the time at SNL, Steele struck up a friendship with the great Will Ferrell, who was a memorable cast member from 1995 through 2002, before striking gold in movies. Almost thirty years into the friendship, Steele informed Ferrell that Andrew was now Harper (an interesting story behind the name choice), and her transition had begun in 2022. Now, keep in mind that Will Ferrell is a guy in his mid-50’s. Sure, he’s been around Hollywood for decades … but still, this information from a long-time friend would surprise most anyone.

Going back to levels of friendship, Ferrell suggests the two take one of Harper’s beloved cross-country road trips together. Watching the film, it plays like Ferrell prefaces this as a way for the two to reconnect, but on a deeper level, it translates into Ferrell making it easier for Harper to get more comfortable in public with her new self. Either way, this is a friendship to admire and the type of character we should each respect.

We have all seen many movies where buddies take a road trip together. However, these 16 days become much more personal and eye-opening than the average buddy flick. The two friends exchange personal details, and respectfully, Ferrell allows Harper to vocalize and process what this new identity means, how it feels, and how she is accepted by others (who are not long-time friends). There are many stops along the way, including parking lots, sporting events, and a dive bar in Oklahoma. Most of this provides some insight, although the over-staged bits (disguises) seem out of place.

Will Ferrell does in fact reward us with doses of humor. “Are you a worse driver now?” is an instant classic, and their friendship-based banter helps us feel like we are along for the ride. There are segments featuring Harper’s daughters and SNL celebrities, and Harper sometimes reminds us of her prolific comedic writing skills. Perhaps the most telling interactions are those with strangers – related both to Ferrell’s status and Harper’s gender. These days, there is a growing anti-trans sentiment that threatens to destroy the advances made over the past years. It seems to me that the message being delivered here is not one of celebration or special treatment, but rather acceptance and friendship … allowing adults to be who and what they want to be, as long as they aren’t harming others. That also seems like the definition of human decency. This one will likely have you analyzing your own reactions, and you’ll definitely want to stick around for Kristin Wiig’s remarkable song at the end.

available on Netflix

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SUPER/MAN: THE CHRISTOPHER REEVE STORY (2024, doc)

January 4, 2025

Greetings again from the darkness. Almost all little kids imagine themselves as Superman, a larger-than-life figure who accomplishes incredible things … while flying through the air! Filmmakers Ian Bonhote and Peter Ettedgui collaborate again, this time to tell the story of the man who became Superman on screen for a new generation, and then, after a horrible accident, became a real-life inspiration and advocate for so many folks around the world. We also note that it’s impossible to tell the Christopher Reeve story without also gaining insight into his equally determined wife and caregiver, Dana Reeve.

“You are still you, and I love you.” These are the words Dana spoke to Christopher after the 1995 riding accident when his horse refused to jump a fence, sending Reeve flying in such a way that the landing left him a quadriplegic near death. Rather than fading, her words gained strength over time, right up until his death in 2004. The film offers a profile of Reeve’s early days, first as a roommate of Robin Williams at Julliard, and later as an up-and-coming actor. There is discussion of his attempts to break away from the Superman cape, most noteworthy in films like SOMEWHERE IN TIME (1980) and DEATHTRAP (1982).

Personal insight is provided by Reeve’s own children, Gae Exton (his ex and mother of two of his kids), and friends and colleagues – Whoopi Goldberg, Jeff Daniels, and Glenn Close. Some of this is focused on his post-injury career when he pursued acting and directing (1998 TV Movie, REAR WINDOW), yet the most personal and insightful bits come courtesy of the home movies through the years, offering a window into the man, rather than the actor. It’s that man that shines through once he transitions into Christopher Reeve, activist for spinal injuries.

Reeve displayed little self-pity, instead determined to move forward with a new life where his celebrity status could bring attention (and money) to the cause. He gave speeches (the Democratic Convention) and made appearances (one at the Academy Awards ceremony less than a year after his accident). Always by his side was Dana. She was an incredible caregiver, yet so much more as she shared his determination in fundraising and medical research. A little off topic, but there’s a clip of her singing in 1987, displaying significant talent.

A devastatingly emotional sequence occurs as we see the family visiting Reeve’s death bed. He was 52 years old when he passed. Proving that the universe bears no sense of fairness, non-smoker Dana was diagnosed with lung cancer less than a year later, and died at age 44, a mere 17 months after Christopher’s death. It’s rare for a documentary to deliver such personal insight, and even rarer for one to pack such an emotional wallop. The stories of Christopher and Dana Reeve serve to remind us of what matters in life … that’s their legacy (more so than a cape).

*On a personal note, I sat by Christopher Reeve at the LA Coliseum during an NFL playoff game between the Cowboys and Rams in January 1979. He took pleasure in talking trash to the young man (me) wearing the Cowboys jersey … at least until the good guys took a commanding lead and he left early.

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STUDIO ONE FOREVER (2024, doc)

January 3, 2025

Greetings again from the darkness. Apologies in advance for any improper labels or descriptions included here. This documentary dates back fifty years to when the term “gay lifestyle” was acceptable. Further to the point, the focus is on Studio One, a West Hollywood disco for gay men. It took a while for the doors to open for other persuasions in what is now referred to as LGBTQ+. Filmmaker Marc Saltarelli really delivers a history lesson – not just for a landmark building, but for an era when gay men were sometimes arrested for simply walking down the street together.

The archival clips and photos often feature sweaty torsos dancing to disco music in a cavernous warehouse located on LaPeer Drive. So why does this particular disco warrant a documentary? Partly because of when it opened (1974), partly for how long it lasted (19 years), and mostly for the people who played and worked within those walls. In 1974, this was one of the few places gay men could hang out together and party. And oh my, did they party!  We hear stories from patrons, performers, DJ’s, and bartenders … stories that include feeling safe and free and cutting loose with music, booze, and drugs (etc etc).

It wasn’t all dancing and gyrating. Studio One became a key force in the Gay Rights Movement, as well as the war against AIDS. Additionally, once the “Backlot” was opened upstairs, it developed into a popular performing spot for musicians and comedians, plus as a hangout for celebrities. Boston Optometrist Scott Forbes founded the club, but the building itself had quite a prior history. In 1929 it hosted a movie camera factory, and during WWII it served as a munitions storage facility. In 1967, “The Factory” opened as a private club partially owned by actor Paul Newman. It was 1974 when Forbes opened Studio One, setting in motion a cultural shift for southern California.

When the film opens, we are informed that a real estate developer has petitioned the city to demolish the building. Those with so many memories of the place work to defend it. Ultimately, a surprising compromise is reached. Along the way, we hear from Chita Rivera, Bruce Vilanch, Liz Torrez, and others as they discuss the impact of this hot spot, and how it evolved into a stage for top performers – including Joan Rivers during her cause to help find a cure for AIDS. It was also a hangout for A-list celebrities like Cary Grant, Rock Hudson, and even Bette Davis.

Disco music and discotheques went out of style many years ago, yet the most startling revelation of the film is in the club’s own policy of discrimination. When it began, Forbes envisioned this as a place for gay men to experience each other. We even learn his preference was for blond gay men. Not so welcome were people of color, lesbians, or others outside of the preferred demographics. The club (and its owner) was racist and sexist … quite surprising from a group that society had so severely discriminated against.

The history lesson continues with a segment on the filming of CAN’T STOP THE MUSIC (1980) at the club, and how Steve Rubell was influenced by Studio One when he founded the infamous Studio 54. The emotions run deep as our talking heads recall those who were lost to the AIDS epidemic, but the smiles are present as they reminisce about the good times. The film provides an unusual look at a specific time in history … one that shifted society.

Available on Digital Platforms beginning January 6, 2025

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Posted by David Ferguson

BEATLES ’64 (2024, doc)

November 28, 2024

Greetings again from the darkness. It’s been 60 years since ‘Beatlemania’ hit the United States. As impressive as Taylor Swift’s ascendance has been, it pales in comparison to the cultural impact of the Fab Four those many years ago. Documentarian David Tedeschi, working with raw footage shot by brothers and renowned documentary collaborators, Albert Maysles and David Maysles, takes us back to those frenzied 14 days of The Beatles’ first U.S. trip, including the infamous appearance on “The Ed Sullivan Show”.

The footage is fascinating not just because it includes the band performing live on Sullivan, at the Washington Coliseum, and at Carnegie Hall, but rather because it puts us in the Plaza Hotel room where they stayed, and in the backseat of the cars as they are transported. We hear interviews and conversations, and gain some perspective on what these young men went through physically and emotionally and musically on their first trip across the pond. Girls were hyped for this group of four lads who certainly didn’t fit the mold of traditional masculinity, while parents were caught off-guard.

What I found most thought-provoking of all was Tedeschi’s presentation as history intertwined with one of the most impactful moments in U.S. history. President John F Kennedy was assassinated on November 22, 1963. The plane carrying The Beatles touched down on February 7, 1964. In plain language, Beatlemania struck as a nation mourned. You may view these as unrelated, but music is known to heal. Perhaps the frenzied young fan reactions to “I Want to Hold Your Hand” that caused the rift with parents and older Americans was just the diversion needed to help a country move forward. That first appearance on the Sullivan show took place on February 9.

Tedeschi supplements the video with a multitude of interviews. We hear from fans, other musicians, and the band members themselves … even Marshal McLuhan. Surviving members Paul and Ringo were involved in the film’s production, as were the estates of John and George. Archival interviews are included here – George from his own lawn, and John on a couple of TV talk shows. Paul is shown at the museum that featured Beatles photography. Yet, the interview that packs the biggest punch is likely that of Ronald Isley of The Isley Brothers. He acknowledges the impact of sales when The Beatles recorded “Twist and Shout”, and he punctuates this with the fact that it did not lead to an invitation for The Isley Brothers to perform on the Sullivan show.

It’s clear how much respect these four young lads had for black musicians and how much their music influenced The Beatles. They were excited to meet with and learn more about the key black musicians such as Little Richard or the Ronettes. Ronnie Spector is interviewed here and offers her recollection of the band, the music, and the times. Tedeschi’s (and the Maysles’) work offers an inside glance at what was happening at the time, and when we hear the wisecracking and see the raw energy of the boys, it helps to know that George (the youngest) would not turn 21 until the band returned to England. We get the feeling they believed this happened to them, not that they caused it. Perhaps they were at least partially right … as the times, they were achangin’.

Streaming exclusively on Disney+ beginning November 29, 2024

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PORCELAIN WAR (2024, doc)

November 22, 2024

Greetings again from the darkness. While we have grown accustomed to movies about war, this documentary is a true and stunning war movie. There are no special effects or stunt doubles or guns with blanks. The bombs are as real as the three people bringing us an all too intimate look at the war.

Slava Leontyev creates porcelain figurines, and his wife Anya Stasenko paints them – often with color and inspiration from nature. Slava and Anya are dedicated artists and it’s art that connects them to their friend Andrey Stefanov. Slava and Anya bring the personal aspect to this film, while Andrey’s work with the camera speaks the horrific truth. The war in Ukraine began in 2022, and when we meet Slava and Anya, they are in Kharkiv, a mere 25 miles from Russia.

“We are ordinary people in an extraordinary situation.” What initially hits as such an understatement, soon make sense as we watch Slava and Anya go about living within their new reality … a reality that involves warning sirens, underground shelters, and the whistle of incoming bombs that lead to explosions causing and property damage and human deaths. The tenacious and disrespected Ukrainian army is made up mostly of civilians willing to fight for their country after the invasion. Slava spends a good amount of time training civilians on basic firearm usage. It’s quite a contrast to his art, yet both are crucial.

We are told, “If one doesn’t stop evil, it keeps going” … a lesson we hope world leaders understand. The homes and lives of these folks will never be the same, but as they explain, stories told through art prevent erasure. Andrey states, “Bad people are not as creative at being bad, as good people are at being good.” We hope he’s right and we hope that matters. These stories are told amidst craters and rubble and incoming missiles. The danger and urgency of each minute ensures the horror is always as present as their pet pooch, Frodo. It is explained to us that porcelain and Ukraine are similar in that they both break but are nearly impossible to destroy. Co-directed by Brandon Bellomo and Slava Leontyev, this was the Grand Jury Prize winning documentary at Sundance.

PORCELAIN WAR will open in theaters, beginning on November 22, 2024 in NYC, on November 29 in Los Angeles, followed by a roll out across North America

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Posted by David Ferguson

BREAD & ROSES (2024, doc)

November 22, 2024

Greetings again from the darkness. After so many decades of groups fighting to gain acceptance and rights and freedom, it seems recently there has been entirely too much focus on removing rights from some. Likely the most harrowing example of this is what’s described as lightning striking in August 2021 when the Taliban entered Afghanistan. Documentarian Sahra Mani goes deep inside the country to show and tell the personal stories of three Afghan women.

Life is described as “normal” prior to the Taliban takeover. Zahra was a working dentist and recently engaged to Omid. There is happiness in the families and community. Soon, Zahra’s dental office becomes a clandestine meeting place for activists seeking a way to rebel without getting detained or tortured. Taranom struggles with the isolation that goes with living in a safe house away from her community, while Sharifa serves as the most common example of women stuck at home with few liberties. If you need a definition of systemic oppression, this film provides it.

No education past sixth grade. No speaking in public. Very limited job opportunities. This new world finds women are first oppressed at home via fathers, brothers, and husbands, and then from a larger perspective by the Taliban. Activism and resistance require great courage, and those involved in the Civil Rebellion prefer peaceful protests, not violence. Their chants of “Education is our right” and “Work, bread, education” are simple and direct.

Prevented from leaving the country – there’s always a documentation issue with visas – the women who are able form backroom schools and work strategically against Taliban mandates. Zahar is even arrested and later goes missing for months. This is the life of women whose personal rights have been stripped. Director Sahra Mani ends with updates on Zahar, Taranom, and Sharifa, and the film serves as a gut-wrenching viewing experience for those who have gotten ‘comfortable’ with the phrase ‘Taliban mandates’. This is a plea for attention and assistance. Producers on the film include Jennifer Lawrence and Malala Yousafzai.

On Apple TV+ beginning November 22, 2024

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Posted by David Ferguson

BOGART: LIFE COMES IN FLASHES (2024, doc)

November 14, 2024

Greetings again from the darkness. In 2022, Kathryn Ferguson released a documentary on singer and activist Sinead O’Connor. It was Ms. Ferguson’s first feature-length documentary, after a few shorts and videos. This time out, her focus is on renowned actor Humphrey Bogart. Now, opening on your subject’s funeral might be an unusual way to begin a profile, but the star-studded service drives home the point that Bogart’s life touched many. He was true Hollywood royalty.

One would expect the profile of one of the biggest movie stars of all time to provide a chronological rundown of his films. Although his film resume is certainly not short-changed, the director takes a more personal approach by structuring Bogie’s life according to how the five most influential women impacted him. Those five are: his mother, Maud Humphrey, and his four wives (in order), Helen Menken, Mary Philips, Mayo Methot, and of course, Lauren Bacall. We are guided through each of these relationships, with neither good nor bad being withheld.

Much of the time is spent with narrator Kerry Shale reciting Bogart’s own words from writings, journals, letters, etc. Shale offers neither a mimic of Bogie’s distinctive voice nor a smooth sound for our ears. Still, there is heft and meaning to Bogart’s words, especially when they are synchronized with an incredible bounty of archival footage, film clips, and photographs. Numerous interviews are included from son Stephen Bogart, directors Howard Hawks and John Huston, and actress Kathryn Hepburn, as well as others. There is also plenty from Lauren Bacall, who famously met Bogart when she was a 19-year-old actress on the set of TO HAVE AND HAVE NOT (1944). The two were married from 1945 through 1957 (his death). It was a true love story, and not nearly as tumultuous as his time with third wife Mayo Methot, who shot at him and stabbed him!

There is a segment on Bogie’s first career – a baby model – and his own words describe this relationship with his mother as he looks back at his childhood. We hear about his time in the Navy, as well as his love of chess and the water … especially time spent sailing on his boat, Santana. We also hear about his quick temper and his alcoholism, and it’s fascinating to learn that it was actress Greer Garson who heard his cough and insisted that he see a doctor – a visit that resulted in a cancer diagnosis.

After years as a contract player in the studio system, it was HIGH SIERRA (1940) that set him on the road to superstardom. Bogart’s career included such iconic roles as Sam Spade (THE MALTESE FALCON, 1941), Rick Blaine (CASABLANCA, 1943), Philip Marlowe (THE BIG SLEEP, 1946), and Lt Commander Queeg (THE CAINE MUTINY, 1954). One of my personal favorites was his role as Dixon Steele in Nicholas Ray’s IN A LONELY PLACE (1950) with Gloria Grahame. When they hear the name Humphrey Bogart, many movie fans picture the trench coat, hat, and cigarette … or the broken love story that begins a friendship. But there was much more behind the scenes. After directing Bogie to his only Oscar in THE AFRICAN QUEEN (1951), director John Huston delivered the eulogy at the funeral for his friend, also putting the final touches on this in-depth profile.

Opens in select theaters on November 15, 2024

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Posted by David Ferguson

MY NAME IS ALFRED HITCHCOCK (2024, doc)

October 24, 2024

Greetings again from the darkness. It takes a cinephile and documentarian of Mark Cousins ability to pull off such a treat for other cinephiles, especially fans of “The Master of Suspense.” This felt like a two-hour geek-out that I wished would never end. Of course, the early title card that read “Written and Voiced by Alfred Hitchcock” tipped us that this would be no ordinary biopic. It’s been more than 40 years since Hitchcock died (1980 at age 80), and his career spanned 1925 through 1976. His oeuvre firmly established his place among the greatest filmmakers, featuring at least eight all-time classics.

Alistair McGowan provides the voice acting that so closely mimics that instantly recognizable Hitchcock oratory prowess, and Cousins infuses the necessary sly wit that we came to expect during Hitchcock’s TV work (unmentioned here). Perhaps no other filmmaker has had their film work so thoroughly analyzed over the year, and yet Cousins brilliantly adapts a new approach. He structures the analysis via 6 categories, and then proceeds to provide archival footage and film clips as ‘proof’ as ‘Hitch’ guides us through.

These categories include:

  1. Escape – the segment shows various characters in different stages of trying or needing to remove themselves from a particular situation, often danger. This is the longest segment and emphasizes Hitch’s use of ‘opening a door’ to welcome viewers inside the movie.
  2. Desire – pretty much the opposite of ‘escape’, this reinforces the power of lust, desire, and sex to motivate a character’s actions.
  3. Loneliness – this segment is a mashup of loneliness, solitude, and discomfort – kind of a catch-all category of those all alone in a moment.
  4. Time or Timing – the proverbial race against the clock is sometimes quite real for characters in suspense or mystery films. Cutting it a bit too close qualifies as well.
  5. Fulfillment – an unusual segment in that it mentions love and then focuses on the personal life of Alfred and his wife (and collaborator) Alma. Shown are their London townhouse, their country estate outside of London, and their U.S. home in Santa Cruz, California.
  6. Height – back to film analysis, we see the frequent use of going high with the camera and shooting down at the scene. It’s a useful lesson in how the camera is a tool for the director.

I have purposefully not included the film titles with clips utilized for each category so as not to spoil the surprises and dull the impact. You should know that the clips fit perfectly, making this a nice film technique education, as well as a different approach to viewing Hitchcock movies. I believe the only two other directors mentioned here are Bergman and Murnau, both of whom influenced Hitchcock – just as Hitchcock has influenced so many filmmakers since. Cousins does forego any mention of the questionable persona and actions that have been associated with Hitchcock over the years, and that’s likely because this documentary wants us zeroed in on techniques that make up Hitchcock films. It’s difficult to imagine any Hitchcock fan not finding this to be a hypnotic experience of learning and appreciation.

In select theaters in NYC and Los Angeles on October 25, 2024

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Posted by David Ferguson

ROAD DIARY: BRUCE SPRINGSTEEN AND THE E STREET BAND (2024, doc)

October 24, 2024

Greetings again from the darkness (on the edge of town). What keeps a band together for decades? It could be the shared love of music … although many bands have split up with members continuing on in solo careers. It could be a love of performing … but again, a band isn’t needed for that. It could be friendship or family … lifelong friends Paul and John couldn’t save The Beatles, and a brotherly feud broke up Creedence Clearwater Revival. Certainly “luck” plays a role … too many deaths to count have caused the demise of bands through the years. Although no clear answer exists, it’s likely a blend of all the above combined with a certain spiritual bonding. Nowhere is that more evident than with the E Street Band. Of course, the band has a dynamic leader in (the once shy) Bruce Springsteen, but it’s obvious these musicians like and respect each other, and very much value what they have built together.

Having been a Springsteen fan since the early 1970’s, I can’t possibly be overly objective towards Thom Zimny’s documentary, so you’ve been warned. Zimny released THE BEACH BOYS documentary earlies this year, and he has a long-standing affiliation with Springsteen on music videos and other documentaries, including LETTER TO YOU (2020) and WESTERN STARS (2019). This latest is centered on the band’s 2023 tour, their first in six years and first since the pandemic. However, rather than a traditional concert flick, Zimny takes us behind the scenes for the band’s reunion, early rehearsals, and process while on the road. Most insightful are the musings from the individual band members, while Bruce’s narration provides some structure to the film.

Bruce kicks us off by recalling that as a kid, he dreamed of playing music in front of screaming fans. It’s hard to imagine his dreams were ever as big as the reality he’s living. What inspired this documentary was his promise that when the pandemic ended, he’d throw “a big party”. That’s what led to the E Street Band’s reunion for their first tour in six years. We learn bits and pieces of history as it pertains to how the band came together, and though the rehearsal time is short, Bruce explains his goals are to “shake the dust off the band” and establish the playlist for the tour. While it’s only hinted at a few times, it seems clear that his run on Broadway influenced the vision he had for this tour.

Opening night in Tampa is as exciting for the band as it is for the fans. A recurring theme for this film is the crowd shots – often close-ups of fans and their emotional reaction (tears flow freely). We can’t help but view this as spiritual for so many – the Church of E Street, if you will. Bruce is crystal clear in his desire to tell a story with the show; a story long-time manager Jon Landau describes as ‘living life now’. The show pays tribute to bandmembers lost – Clarence Clemons and Danny Federici, and Bruce’s wife and bandmate Patty Scialfa briefly discusses the health scare that has her cautiously participating in shows whenever possible.

One of the highlights is the anticipation of the tour arriving in Barcelona. Whatever you’ve heard about the crowds in Europe, what we witness goes even beyond. These fans remind me so much of those early days as they express their pure appreciation and raw emotion driven by the music. Another aspect that becomes obvious as the tour progresses is that, despite being a huge band on stage, the E Street Band is remarkably talented and incredibly tight musically. This entertainment spectacle is first and foremost a musical gem, and Steve Van Zandt (as Musical Director) probably doesn’t receive the recognition he deserves from the fans for his attention to musical details.

The segment on the cover of “Nightshift” is particularly telling on how things come together for both the music and the stage presentation. It’s noted that the song has turned into a ‘showstopper’ on tour and the film makes it obvious why. Insights from band members throughout the film infer a blended magic with influences of Jazz, R & B, Soul, and Jazz, and the music provides the proof. Piano work from Professor Roy Bittan and sax work from Clarence’s nephew Jake cover multiple styles, and when the band cuts loose, rock music has rarely been better. The film leaves us with a bit of uncertainty. Alone on stage with his acoustic guitar, Bruce (now 75 years old) sings “Last Man Standing” (noting the recent passing of George Theiss leaves Bruce as the only survivor of his original band, The Castiles). As narrator he refers to “yesterdays and goodbyes”, and then proclaims he’ll continue “until the wheels come off.” If it’s his goodbye, the legacy spans over 50 years. If the wheels stay on, we’ll chomp at the bit to see what the Boss brings us next.

Premieres on Hulu and Disney+ on October 25, 2024

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