THE DISAPPEARANCE OF SHERE HITE (2023, doc)

November 16, 2023

Greetings again from the darkness. Little bits of movie trivia are always fun to learn, and this documentary throws out a doozy. I must be late to the party because I had no idea Shere Hite was the model for the Bond girls on the poster for DIAMONDS ARE FOREVER (1971), the James Bond film starring James Bond and Jill St. John. More people surely know Shere Hite as the writer of the groundbreaking best-selling book, “The Hite Report on Female Sexuality”, the 600-page tome first published in 1976 that inspired much discussion and debate.

Documentarian Nicole Newnham serves up a remarkably detailed and encompassing look at Ms. Hite and the impact of her writings and interviews. She opens with a clip from a 1976 interview author Hite gave, and inserts a clip of Hite’s commentary in 1994 while re-watching her own interview nearly 20 years later. Throughout the film, we see significant archival footage of Hite appearing on talk shows and at other venues, and actress Dakota Johnson recites some of Hite’s written comments and observations.

Hite faced constant criticism of her writing and was forced to defend her research at every turn. Was her questionnaire biased? Was it even scientific? The label of ‘sexologist’ was ridiculed by many, despite her approach of expounding on The Kinsey Report from years earlier. What began as a frowned-upon graduate school thesis, grew into a cultural phenomenon and made Shere Hite a celebrity … something that her modeling career never did, despite posing for Playboy and numerous paperback covers for romantic novels.

Hite faced the backlash. She even appeared on Oprah’s show in front of a hostile male-only audience that belittled her and tried to discredit much of her work. To her credit, Hite followed with other books, and only wore down for the criticism after many years – leading her to ultimately renounce her U.S. citizenship and move out of the country.

Regardless of one’s thoughts about Hite or her writings, she sold over 20 million books, and her most popular is listed as the 30th best selling book of all-time. She was certainly a trail blazer and inspired discussion and debate on what had been a previously taboo topic. Newnham’s documentary provides a fitting retrospective to the late Shere Hite.

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Posted by David Ferguson

MEDICINE MAN: THE STAN BROCK STORY (2023, doc)

November 13, 2023

Greetings again from the darkness. You know how an overachiever can make you feel like a worthless slug? Well, that’s nothing compared to how you’ll likely view yourself once you learn the story of Stan Brock. If you recognize the name, it’s likely due to the 31 episodes of “Mutual of Omaha’s Wild Kingdom” he co-hosted with the legendary Marlin Perkins. His matinee idol good looks were right at home whether he was exploring in the desert or wrestling an Anaconda in the Amazon. Documentarian Paul Michael Angell gives us Brock’s backstory, but the focus here is on the amazing things he accomplished after his animal corralling days.

The film was completed in 2020, two years after Mr. Brock passed away. Despite playing some festivals, the film is just now gaining some well-deserved traction. We learn of his childhood, and how at age 17 he began working at the Dadanawa Ranch in British Guiana (now Guyana). He was a barefoot vaquero (cowboy), and clearly excelled in the no-frills close-to-nature environment, as he was supervising men much older than he. He later co-hosted the TV series, made three movies, wrote three books, and ultimately sold his belongings and founded RAM – Remote Area Medical in 1985.

Much of the film details RAM operations and how Brock coordinates the operation, along with the assistance of the organization’s long-time director, Karen Wilson. We are along for some of the “expeditions”. The first one was in Mexico, and Brock’s last was number 957, although RAM has since far exceeded that number. Providing free medical treatment for folks with no insurance and little money means things like dental work and necessary x-rays can be handled, and if you doubt how crucial this service is, we learn that people in desperate need of tests and care will camp out for three days in hopes of receiving treatment.

Mr. Brock was not a medical professional, and he certainly wasn’t a glory-hound. In fact, he admits to poor social skills (he had to learn to hug) and a distaste for asking people for money. He gives credit to the tens of thousands of volunteers who made RAM a success. We do learn that many states have laws preventing doctors from crossing state lines to provide free medical care, and Mr. Brock succeeded in convincing twelve states to change this law so that more doctors could help.

Stan Brock dedicated the last phase of his life to providing healthcare to those who needed it most. He did this despite his own personal health issues. His inspirational legacy is a shining example of community service and altruism. His was selfishness in a world that barely recognizes it … well, except for those most appreciative folks (over one million now) who received treatment. If we are to idolize heroes, it should be people like Stan Brock who sacrificed so much for so many – even if his efforts make us feel like a worthless slug.

Fathom Events for one night only on November 14, 2023

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Posted by David Ferguson

THE HOLDOVERS (2023)

November 9, 2023

Greetings again from the darkness. We’ve all had that teacher. You know, the one with an evil streak who just seemed to thrive on making students miserable. Throw in a staff and administrators who feel the same way, and the casting choice for the teacher becomes obvious.  Enter the always great and perfectly curmudgeonly Paul Giamatti. This is the first time Giamatti has worked with two-time Oscar winner Alexander Payne since their brilliant SIDEWAYS (2004), and it’s clear these two share a wavelength for comedy and drama, even in throwback form.

Paul Hunham (Giamatti) is a long-time professor at Barton Academy, an all-boys private prep school located in the snowy northeast. It’s December 1970, and an early scene exemplifies how he relishes the failing grades he bestows upon desperate students so afraid to disappoint their rich parents. In the final class before the holiday break, the student-teacher banter doesn’t go so well for the boys, and they head to break with an extra workload. Hunham is easily manipulated into babysitting the titular holdovers – students stuck at school over the break, while most others spend time with family, often on exotic trips.

Initially there are five students, but after a certain development, what remains is Hunham, smart but troubled Angus Tully (first timer Dominic Sessa) and the school’s head cook, Mary Lamb (a divine Da’Vine Joy Randolph, DOLEMITE IS MY NAME, 2019). Hunham is perpetually annoyed and has a weakness for booze. Angus is frustrated that his mother left him at school so she could travel with her new husband, and Mary is grieving over her son who was killed in Vietnam. Watching these three struggle to bond is a case study in psychology, yet of course we know they will ultimately form a family of misfits, depending on each other to offset the loneliness.

The genius tagline for the film is “Discomfort and Joy”, and initially the first overshadows the latter. Isolated from the world in their own way, the three characters begin to influence each other, showing broken/wounded people need and deserve love and friendship as much as anyone else. “Entre nous” (just between us) becomes a kind of calling card for this trio, and a Christmas party thrown by an eternally optimistic staffer (Carrie Preston) is a turning point.

Giamatti is master of this material and only goes over the top a time or two. It’s painful and humorous each time he is so anxious to infuse his breadth of ancient civilization facts into even the most mundane conversations. Newcomer Sessa possesses star potential and nails a complex first role. Da’Vine Joy Randolph’s Mary is the heart of the film, doling out advice to Hunham and comfort to Angus. Depression is a vein running through these characters and it’s acknowledged, though not the focus.

This is Alexander Payne’s first film since the disappointing DOWNSIZING (2017), but his brilliance has been proven in ABOUT SCHMIDT (2002), SIDEWAYS (2004), THE DESCENDANTS (2011), and NEBRASKA (2013). This time he’s working from a screenplay by successful TV writer, David Hemingson, and though there is never much suspense about where the story or characters are headed, we enjoy the ride immensely. Cinematography from Eigil Byrld (IN BRUGES, 2008), perfectly complements the emotions (shot on digital, graininess added in post), and the soundtrack is period-specific, including the great Cat Stevens. Pay attention to the retro opening credits and logos, and enjoy a smart and funny film (an Alexander Payne trademark).

Opening in theaters November 10, 2023

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Posted by David Ferguson

YOU WERE MY FIRST BOYFRIEND (2023, doc)

November 9, 2023

Greetings again from the darkness. Goodness, this review has been so difficult to write. Not because of anything wrong with how this documentary was made or filmed – in fact, from a technical standpoint, it is very well done. Rather it was due to my personal opinions and bias, which were what I had to fight against while watching.

Filmmaker Cecilia Aldarando makes the decision to relive her 1990’s adolescence, and to film the proceedings. The tagline reads, “She’s doing high school again”, yet it’s really more than that. This plays like a deep therapy project centered around her admission that she didn’t fit in, and to this day remains scarred by memories of PE class, crushes on boys, school bullies, and prom night. Ms. Aldarando still carries the anxiety of not being admitted to the “in” group of girls from whom she so desperately wanted acceptance.

Timed to coordinate with her high school reunion at the Country Club in Winter Park, Florida, there is actually very little footage shown from the event. Instead, much of the time is spent on reenactments designed to recreate painful and vivid memories. Cecilia also meets face-to-face with her high school crush, Joel, who barely remembers her and had no idea that she was silently pining for him. She even reads him a poem from her 1994 journal, making the encounter that much more awkward.

Bad memories are a fact of life after high school, and most of us learn to live with these and move on. Cecilia Aldarando needs closure, and one of those horrific memories is recreated by selecting young actors to help re-live a night at camp where, Jo Anne, the one girl that was treated worse than her, was humiliated by the same group of girls Cecilia so wanted to be like. Making this segment more impactful is that she had tracked down the adult Jo Anne to provide input and observe. It’s a tough scene for us to watch, and especially tough for Jo Anne.

Cecilia even includes her real-life partner, Gabe, as well as her older sister in reenactments, some of which work better than others. The Tori Amos video segment seemed to drag on longer than it should have, and the “My So Called Life” piece was a bit creepy. Cecilia’s long ago best friend Caroline is discussed frequently, and it’s clear that Cecilia views her own failures as a friend as a critical element in telling her story. This is likely the most revealing aspect of the process for the director.

“Hating” one’s self during the teenage years is not uncommon. What we hope is uncommon is the need two decades later to address the misery of those years. Cecilia’s sister asks the question that needs to be asked: why does she give the past so much power? The film was co-directed and edited by Sarah Enid Hagey, which was necessary due to Cecilia being on screen for most of the film. It is interesting to note the role movies played in childhood, and how so many of her crushes were directly from period pieces (aka unattainable). Home movies are included here as well, and Cecilia admits the desire and need to exorcise those adolescent demons. We are also left questioning the accuracy of those long-ago memories, which here are explained as bad memories containing specific details, while good memories are a montage of the times. Here’s hoping most of us dwell on the montages.

Available on HBO beginning November 8, 2023, and streaming on Max soon after.

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Posted by David Ferguson

RUSTIN (2023)

November 4, 2023

Greetings again from the darkness. Organizing an event is often tedious and frustrating and stressful. Rarely is it entertaining. Such is the challenge faced by director George C Wolfe (MA RAINEY’S BLACK BOTTOM, 2020) and co-writers Justin Breece and Dustin Lance Black (Oscar winner for MILK, 2007). Take that and add a central character that most have never heard of, and the challenge seems questionable, if not undesirable. What happens if that main character has more charisma than the beloved Reverand Martin Luther King? Well, that’s something we can work with.

Colman Domingo (IF BEALE STREET COULD TALK) stars as Bayard Rustin, the gay, black, outspoken civil rights activist and organizer … and one-time communist … who coordinated efforts for the 1963 March on Washington for Freedom and Jobs. If that doesn’t sound familiar, it’s the official name of the event where MLK gave his “I Have a Dream” speech. That day is remembered for King’s speech, but the event never would have occurred without the herculean efforts behind the scenes by Mr. Rustin and his team. Since it wasn’t easy, there is a story worth telling.

Director Wolfe is a Tony Award winner and his stage roots are on full display. Many scenes play like live theater, and the performances are elevated to the point of over-dramatizing. There is nothing subtle about Bayard Rustin and nothing subtle about the film, with the exception of Ami Ameen as MLK. By watching this, we wonder how King ever became the leader of a movement – and this after an early scene where Rustin urges him to “own your power”. It’s a power we don’t see here, yet understand it existed in real life. The film opens by reminding that it was 1954 when the Supreme Court ruled segregation was illegal.

Most of what we see occurs in 1963, a couple of years after King and Rustin had a falling out. When the friendship and partnership are re-established for the purposes of the march, it brings together the previously disparate organizations (and their egos) that had been striving independently for power. One in particular was the NAACP, with its director, Roy Wilkins, played here by Chris Rock. The behind-the-scenes bickering and posturing is one of the film’s strengths. Other players of interest here include A Philip Randolph (Glynn Turman), Anna Hedgeman (CCH Pounder), Representative Adam Clayton Powell (a properly pompous Jeffrey Wright), and Elias Taylor (Johnny Ramey) as an attraction and distraction for Rustin.

The goal of 100,000 peaceful attendees initially seemed nearly impossible, and of course, history tells us the final number was closer to 250,000. This group of activists not only faced opposition from white establishment, including (according to this) the Kennedy brothers, but there was also an incredibly tight timeline to work with. It’s the group of dedicated and passionate volunteers that go to the heart of a grassroots movement, and these folks are given their due. The film’s weakness is in its attempt to balance the movement with the scandals surrounding Rustin’s homosexuality. That angle simply doesn’t work as well. As viewers, we are bombarded with monologues galore and stagey acting and scenes, but at the center is a man whose story should be told.

https://www.netflix.com/title/81111528

In select theaters November 3, 2023 and on Netflix beginning November 17, 2023

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Posted by David Ferguson

PRISCILLA (2023)

November 3, 2023

Greetings again from the darkness. It was less than 18 months ago when Baz Luhrman’s Oscar nominated ELVIS hit theaters and we were admiring Austin Butler’s performance. Where that movie was glitzy and loud and centered on Elvis and Col Tom Parker, this current film from writer-director Sofia Coppola (Oscar winner for LOST IN TRANSLATION, 2003) offers a quieter, more intimate glimpse at the relationship between Elvis and Priscilla through her eyes.

Ms. Coppola is a detailed filmmaker who excels when dealing with personal isolation, and Priscilla makes a fitting and worthy subject. The screenplay by Coppola and Sandra Harmon is adapted from Priscilla Presley’s 1985 memoir, “Elvis and Me”, a book that also served as the basis for the 1988 TV movie of the same name (screenplay by Ms. Harmon). Although Elvis Presley Enterprises was not involved with this film (explaining the lack of familiar Elvis music), Priscilla Presley did serve as Executive Producer (EP, ironically), so her memories and preferences likely play a key role in much of what we see here.

Relative newcomer Cailee Spaeny (“Mare of Easttown”) delivers an outstanding performance – from 14-year-old Priscilla Beaulieu in 1959 to Elvis’s bride in 1967 through their divorce in 1973. Ms. Spaeny perfectly captures the wide-eyed innocence of a young fan, the frustrations of a young woman being controlled and isolated, and finally, a grown woman standing up for her own freedom. Playing Elvis through this same time period is Jacob Elordi (“Euphoria”), and he is effective in mimicking the familiar mannerisms and speaking voice. Physically, he towers over the diminutive Spaeny, which although not historically accurate, does add a dimension to the couple’s disconnect. As for the age difference, the two actors are close in age, but are able to portray the actual 10 year age gap between Elvis and Priscilla.

The creep factor is ever-present as 24-year-old Elvis, overseas on military duty, shows an elevated interest in 14-year-old Priscilla Beaulieu, whose military father is also stationed in Germany. The naivety of their first meetings is captured as Elvis’ beloved mother has recently passed away. Both are lonely and away from home, and Elvis simply finds her easy to talk to. It’s hindsight to question how parents could allow the situation to escalate, but anyone who has parented a teenager understands the challenges. When Priscilla turns 17, she moves into Graceland, yet Elvis insists the intimacy wait until after they are married.

At the core of the story is Priscilla’s solitude and loneliness. She is confined to Graceland and requested to “keep the home fires burning” as Elvis marches off to the stream of movies set up by a never-seen-here Col Tom Parker. Keeping Parker on the phone allows Priscilla’s world to remain even smaller despite being married to the biggest star on the planet. Doses of Elvis and the Memphis Mafia occur between extended stretches alone with Elvis’ grandmother and personal cook. She is isolated from the real world and clearly controlled by Elvis, who was only partially present.

When Priscilla and Elvis are together, the strain is apparent. Prescription drugs and sexual tension are interrupted by periodic bursts of Elvis anger, followed by a sincere apology. It’s here where we realize he’s more of a kid than she is … emotionally stunted in what makes a relationship (it takes more than the tabloid reports of movie set flings Priscilla reads about). This is also evident as she watches him go through many phases in search of himself – martial arts, bible study, eastern philosophy, etc. In the family photo shoot with Lisa Marie, body language tells the whole story. Priscilla’s fling with karate instructor Mike Stone is teased, but not dwelled upon. We realize that Priscilla was the one thing in life he felt he could control. By the end, one of them has escaped the cage, while the other remains captive.

Voted ‘Best Film’ at this year’s Venice Film Festival, it also reminds us what a terrific filmmaker Sofia Coppola can be. Working with a limited budget, she and her team are so proficient, it never seems as if they cut corners. Cinematographer Philipe Le Sourd and Editor Sarah Flack manage to sustain the pacing despite an inordinate amount of time Priscilla spends on her own at Graceland. Production Designer Tamara Deverell recreated the recognizable interior of Graceland, while the work of Costume Designer Stacey Battat guides us through the fashion changes that occurred over these 14 years. The film recreates some of the iconic images and moments that are ingrained in our memory banks, and director Coppola chooses to end with Dolly Parton’s “I Will Always Love You”, supposedly the song Elvis sang to Priscilla as they finalized the divorce.

Opens in theaters on November 3, 2023

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Posted by David Ferguson

THE MARSH KING’S DAUGHTER (2023)

November 3, 2023

Greetings again from the darkness. Karen Dionne’s 2017 bestselling novel is the source of this film from director Neil Burger (THE ILLUSIONIST, 2006), and it has been adapted for the screen by co-writers Elle Smith and Mark L Smith (THE REVENANT, 2015). Having not read the book, I am unable to offer a comparison, however, it’s probable that the film moves at a faster pace and that the book fills in much detail that the two-hour runtime is forced to skip over. Typically, neither of this would result in an improvement, yet the performances are strong enough to generate enough tension and suspense to satisfy most viewers (if not the book’s fans).

Opening with some very cool shots through the marshlands, the story takes us deep in the forest as a father (Ben Mendelsohn) teaches survival skills to his 10-year-old daughter, Helena, played by Brooklynn Prince who was so memorable in THE FLORIDA PROJECT (2017). One of the lessons ends with the father proclaiming, “You must always protect your family.” Yes, it’s about as obvious as foreshadowing can get. There is a level of creepiness to the off-the-grid cabin living of Jacob, his daughter Helena, and Helena’s mother (Caren Pistorius, SLOW WEST), and once we realize the situation, it leaves us wishing we had experienced a bit more of the misery and fear that will ultimately determine the future of these three people (plus some others). In other words, the film shoots through this first act a bit too quickly.

We then flash forward twenty or so years, and find a grown-up Helena (Daisy Ridley) married to Stephen (Garrett Hedlund, MUDBOUND) living a comfortable suburban life as they raise their young daughter Marigold (Joey Carson). Helena has chosen not to tell Stephen her past, and that secret comes crashing down when her father Jacob (known as The Marsh King) escapes from prison and comes looking for her. Father and daughter reunite at the old cabin in the woods, and things go a bit bonkers; however, that earlier foreshadowing comes into play, and Helena finds herself utilizing those early daddy lessons against that same daddy.

Daisy Ridley has the physicality required to pull off this role and her resemblance to young Brooklynn Prince is uncanny. Mendelsohn is, as always, a menacing presence using subtle movements and that remarkable voice. A supporting nod goes to Gil Birmingham (HELL OR HIGH WATER, 2016) for a key role as well. At its best, the film (and I assume the book as well) captures the sometimes remarkable contrast between childhood perspective and that of a grownup. We can only hope that for most folks, it’s not similar to that of Helena.

Opening in theaters on November 3, 2023

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Posted by David Ferguson

FINGERNAILS (2023)

November 3, 2023

Greetings again from the darkness. Certifiable love. Trust the science. Anna and Ryan are in love and they have the certification (and sore fingers) to prove it. One minor problem is that they don’t seem to have much in common, other than a love for the fatty parts of a well-cooked steak. And even this common ground leads to a certain dishonesty. Writer-director Christos Nikou and his APPLES co-writer Stavros Raptis, along with co-writer Sam Steiner, have given us a film that appears to lean heavily into science-fiction, while also poking a bit of skepticism that direction.

Most of this film didn’t work for me, however, the depth that the two lead actors, Jessie Buckley (I frequently recommend WILD ROSE, 2018) and Riz Ahmed (SOUND OF METAL, 2020, and an Oscar winner for his short film THE LONG GOODBYE, 2021), bring such an intimacy and sincerity to their scenes that we can almost overlook the absurdity of the story. And maybe that’s the point.

Anna (Ms. Buckley) has recently lost her job as a teacher, and when she lands the job she wants as a trainer at The Love Institute, she opts not to tell her husband Ryan (Jeremy Allen White, “Shameless”). The Love Institute is run by Duncan (Luke Wilson) and the mission is to test couples for scientific compatibility in a long-term relationship. This is done by pulling a fingernail from each and testing in a machine invented by Duncan (don’t worry, he is always looking to improve it). The idea is that science can take the guesswork out of relationships and put folks at ease that they found the “right” partner.

Of course, as soon as we see Anna and Amir (Mr. Ahmed) working alongside each other, we know where this is headed. The two actors are terrific together and excel at selective gazing, while maintaining professionalism. Science, chemistry, and biology all play a role here, but the thought that folks would volunteer to have their fingernails yanked out (while biting a block of wood) is ludicrous, even if the film opens by telling us fingernails often display the first symptoms of heart issues (physical not emotional). The film is evidently supposed to prove yet again that matters of romance are beyond the scope of science, even in movies.

Opens on AppleTV+ beginning November 3, 2023

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Posted by David Ferguson

WHAT HAPPENS LATER (2023)

November 3, 2023

Greetings again from the darkness. Meg Ryan will forever be linked to her popular and beloved romantic comedies, WHEN HARRY MET SALLY (1989) and SLEEPLESS IN SEATTLE (1989). She wore the crown of “America’s Sweetheart” for years, and then after years of hard work, she pumped the breaks on her acting career, resurfacing periodically for a TV or film role, often in support. In 2015 she took her first shot at directing with ITHACA, in which she also starred, and now after an 8 year big screen absence, she’s back as writer-director-producer and star of a film that harkens back much closer to her rom-com roots.

A massive winter storm rolls in – a Bomb Cyclone with Snow Thunder. This grounds all planes  at a regional airport (it was filmed at the airport near Bentonville, Arkansas) where ex-lovers Willa (Meg Ryan) and Bill (David Duchovny) bump into each other for the first time since they broke up twenty-five years ago. Initial awkward small talk soon transitions into ‘large’ talk, and the two fall into rhythmic banter befitting of two who were at one time very close. He’s a stockbroker on the way to Austin to meet with his demanding, much younger boss, and she’s a wellness practitioner on her way to Boston. For emphasis, he wears a dark business suit and necktie, while she sports clunky boots and bouncy hair.

What follows is a passive-aggressive twist on Richard Linklater’s “Before” trilogy. In the industry, this is called a two-hander, as there are only two speaking parts – not counting the slyly intrusive airport PA announcer (credited as Hal Liggett?) – and the two characters carry on a conversation for most of the run time. Ms. Ryan wrote the script with Steven Dietz and Kirk Lynn and based it on Dietz’s play, “Shooting Star.” It’s a dialogue heavy approach designed to let us get to know the characters, but also allow Willa and Bill to catch up as they re-live moments from the past. Some of this is painful for them, and some of it provides previously lacking clarity. Memories and quirks pop up, and the manner in which they are addressed speaks volumes to how close these two once were. We learn their secrets as they each peel back layers.

Tom Petty’s lyrics, “Most of the things I worry about never happen anyway” are utilized to effect here, and missed connections has multiple meanings. With Meg Ryan and David Duchovny past the 60 year mark, this isn’t one of the cutesy rom-coms we’ve grown accustomed to with twenty-somethings. These are grown-ups who once shared dreams and are now taking stock of life and reality. Even the commentary on society is head-on rather than cleverly disguised as is common for this genre. Director Ryan and cinematographer Bartosz Nalazek insert more than a few falling snowflake shots, and the point is driven home about just how much has occurred since these two became a couple while attending the University of Wisconsin. As a writer, director, and actor, Meg Ryan certainly is in her wheelhouse here, and fittingly, she ends with a “For Nora” tribute to her late friend and mentor, Nora Ephron.

Opens in theaters on November 3, 2023

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Posted by David Ferguson

IN THE COURT OF THE CRIMSON KING: KING CRIMSON AT 50 (2023, doc)

November 3, 2023

Greetings again from the darkness. King Crimson was founded in 1969 and to this day, no one can properly describe their music. Even co-founder and band leader Robert Fripp avoids labeling the music and instead states, “King Crimson is a way of doing things”. Documentarian Toby Amies takes on the challenge of examining the band after 50 years.

While most associate guitarist Fripp as being the face of the band, he himself claims that it’s an ensemble and always has been. But then he also describes the years 1969 through 2013 as “wretched”, and that only with this most recent iteration has he found satisfaction. At a minimum, Fripp is a perfectionist, and it’s likely he is also a tortured genius who constantly strives for different, more, and better. He makes for a frustrating interview, and director Armies shows him mostly in various short clips, while letting current and former band members offer their opinions.

Co-founder Ian McDonald’s zoom interview is the most touching. Taking place shortly before McDonald’s passing in 2022, he breaks down and says, “I’m sorry Robert”, for leaving Fripp and King Crimson after only a year. Obviously, there was some bad blood between the two men, even after so many years. McDonald went on to co-found the band Foreigner in the 1970’s before taking on a solo career. Fripp remained with King Crimson and pursued his idea of what a band should be.

Former King Crimson bassist Trey Gunn explained being in the band was like “a low-grade infection”, while current drummer/keyboardist Bill Rieflin thrived with the band. Rieflin was performing with Stage four colon cancer and countless other health issues, yet viewed making music as what he was meant to do, right up until his passing during filming of this documentary. Numerous other former members were interviewed, and the comments range from annoyance to reverence. Current singer/guitarist Jakko is cautious about what he says so as not to cross Fripp. He cracks, “you’re irreplaceable … like the last bloke.”

It’s a unique band playing unique music – a style where each world class musician plays their part based on what fellow band members (usually 8 including 3 drummers) are playing. The result is often a peak experience for the audience, even for those who have attended many shows over the years. There is an interesting segment featuring a nun who is also a devoted fan of the band. She compares it to religion, and between the immersive music and Fripp’s commentary, we can’t help but put this in terms of philosophy, psychology, religion, and even a cult-like atmosphere. Always impeccably dressed like a British gentleman, Fripp’s obsessive discipline and demanding ways leave us with a better feel for the band, while being no closer to offering a label of description. This is not your parents’ music documentary … even if it happens to be your parents’ favorite band.

In theaters November 3, 2023 and VOD beginning December 1, 2023

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Posted by David Ferguson

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