Rock Docs Supreme: Janis (1974), Janis: Little Girl Blue (2015), and Louder Than Love (2012)
Moving is never fun, especially if you’ve been in the same place for a while, but the hunt is on for new lodging, and scouring ads takes a bit of time, a bit of coffee, maybe some cake, and maybe more coffee to find something that’s reasonable and ideally situated by a major transportation hub (and affordable in thus nutty city where buying a fully detached house costs around 800K).
I’ll blather now and then on the fun of sorting, tossing, packing, and head-scratching that comes with prepping stuff and ultimately moving – just wait for the photos of the boxed RCA, SVHS, and coax cables… you’ve no idea of the size and weight that constitutes all that wired spaghetti – but for now, here’s a trio of rock docs which are interrelated because of one central figure in this post: Janis Joplin.
I’m not exactly a fan, but there are some songs and performances that are truly remarkable, largely because it’s so very clear the woman you’re watching onscreen is using everything inside – the hurt, trauma, upset, and deep passion for the blues – as well her every cell in her body to express one giant wail. Sometimes it’s about shitty men, or good men, or men who can’t deliver, but there’s humour and deep vulnerabilities in her performances, she she’s more surprising when her dynamics are toned down to a hush or a soft series of tones.
Joplin’s the (obvious) focus of the first two docs here: Amy Berg’s affecting Janis: Little Girl Blue (2015) from FilmRise / MVD Visual, and Howard Alk’s prior and no less informative Janis (1974), a CanCon production released theatrically by Universal and later on VHS before it vanished from circulation in North America.
Alk’s film is clip-based, relying on archival materials, and was reportedly influenced by Joplin’s manager to make sure the cinematic image was free from controversy, making it an interesting example of how filmmakers can work in subtext without address issues like substance abuse. The two films are companion pieces, as well as observations on a central subject made 40 years apart; that alone makes for some fascinating comparisons.
Joplin’s early career also brought her to Detroit, where she played at the Grande Ballroom, known today as a prime example of ruin porn than a major and influential concert venue where up and coming artists local and international played before their careers really exploded. The Grande was a classic late 20s dance hall that ultimately fell on hard times, suffered terrible neglect, and looks like hell.
Filmmaker Tony D’Annnunzio doesn’t shy away from its decrepit hull, but it’s not the focus of the feature-length doc. Louder Than Love (2012) is all info, emotion, anecdotes, and ephemeral clips of what existed in Detroit for roughly 6 years before the venue was shuttered and left to the elements.
The MVD-distributed doc features some notable extras, and is proof a great narrative can be wrought without bashing viewers with After Effects and ADD edits.
Cheers,
Mark R. Hasan, Editor
KQEK.com
Category: EDITOR'S BLOG
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