billcurry-1
I wish I had seen the Elvis Costello extra prior to seeing the movie. Some people might see the information contained there as a spoiler, so I checked that box, though this is hardly a plot-driven film. If I had known that the director of the film was the same as that of the brilliant, if truth-bending, Diving Bell and the Butterfly, I would have watched it w great anticipation. I also would have immediately recognized Emmanuel Seigner as the beautiful woman who showed up on the screen from time to time. As it is, I did not press play with much anticipation. I knew this was going to be no Concert for Bangaladesh. I expected Lou Reed and got Lou Reed. It was nicely spiced with the occasional glimpse of the Cayenne pepper beauty of Ms. Seigner. Could have used more of that. Unfortunately, with the exception of Perfect Day and Sweet Jane, I see most of the late Lou's music as background music. Dark background music, but background music nevertheless. Neither do I see anything fascinating about Warhol's Factory or the seedy side of the French Quarter in my home town. I generally prefer the sunny to the wild side of the street. I said, hey sugar, take a walk on the sunny side, I said hey babe, take a walk on the sunny side, and the colored girls say whatever they want. At least now I know how Lou's music wound up--in the background--of a French film.
william-t-archer
Julian Schnabel might have been the most annoying New York artist of the Eighties, but he has really blossomed as a movie director. Concert films don't usually show much visual style, but here Schnabel has worked out a distinctive look for the movie that is entrancing without ever being intrusive or flashy-for-the-sake-of-flashiness. Of course, it helps that he's got a great series of songs to film: the Berlin album is one of those rock masterpieces that has grown over time, and it's almost reassuring to know that it was trashed by critics when it came out, since Lou Reed is so clearly having the last laugh on them now. Reed, as it turns out, has become an even more compelling camera subject than when he was young and a little too pretty for his own good. Here, he looks both ravaged and utterly determined to give every song his absolute best. It's bracing to see an artist who has sometimes thrown his talent away for the sake of looking cool now grab hold of the best he's got with such energy and devotion. There's weariness in his face, but no defeat, and Berlin's relentlessly downbeat lyrics remind us that, at its best, great rock music has always had the ability to take our losses and pain and make something beautiful out of them, without sugar-coating them with sentimentality or fake uplift.
esmereldaster
I wish I could give more than 10! I can't understand why anyone says that Lou Reed is an "indifferent performer". It is his laid-back, laconic style, whilst delivering lyrics of such power and dark energy that makes him the genius he is. I loved this film and was particularly moved by Antony's beautiful and original "Candy Says".... Schnabel and Reed made the perfect film partnership.Everything Reed has done, from his early days with the V.U., is brilliant, and what I admire particularly is the huge variation in genre, in both the music and the content of his songs. There is the less well know album in homage to Warhol, for instance, not often mentioned, but containing some wonderful lyrics and also collaborating with the great John Kale. Reed is God.
crossbow0106
This is a film of Lou Reed performing his 1973 album "Berlin", along with images in the background of actress Emmanuelle Seigner (different ones, not a continuous film). On stage there is a great band (Fernando Saunders and Tony Smith are a great rhythm section), but the revelation is guitarist Steve Hunter, who was the main player on "Berlin". Where has he been lately, he still sounds great. There are also string and horn players, as well as a choir. If you're a fan of Lou's, you'll like this. If you aren't, you'll appreciate the musicianship, but not the music. Lou Reed is such an indifferent performer. As a longtime fan (I was too young for the Velvets, but know him from "Street Hassle" on), I've always felt that Lou plays it way too straight. He is just not that dynamic, its not like watching Springsteen, Billy Joel, i.e. artists that sound like the music greatly moves them. This detracts from the power of "Berlin". Steve Hunter provides most of the great guitar work (Lou is a great rhythm guitar player, so that makes sense), and I did appreciate this film. Particularly, "How Do You Think It Feels" and "The Bed" sound great with this group, but you'll never be able to replicate the harrowing "The Kids" live. If you've heard the studio version, you'll know what I mean. So, this is it: Dust off your copy of "Berlin", then watch this film. If you're a fan, you'll like it a lot. If you aren't, this won't convert you. You can still appreciate the music, though. I liked it. Its meant to be played loud.
AD
