Film review: Metallica - Some Kind Of Monster.
Another documentary, this time (shut it, Pearce). Gave this one a shot, in spite of not being a Metallica fan. Suffice to say, I was pleasantly surprised.
The initial idea of this documentary was simple; the filmmakers, Bruce Sinofsky and Joe Berlinger, would grab a camera and capture uber-rock group Metallica, as they return to the studio and produce a new album, an album which was to become 2003's St. Anger. The fact that there's a gap of two whole years between the first recorded shot and the release of the album should be an indicator of what you're about to see.
Right from the get go it is clear that the band is a mess, torn apart by internal struggles. They had just lost bassist Jason Newsted, due to creative differences, and the friction between the remaining three band members, James Hetfield, Kirk Hammett and Lars Ulrich, was growing constantly.To such an extent, even, that the band hired a $40.000-a-month psychologist/'life coach', who would assist the band, and try to get them to communicate and focus on the task at hand.
What was supposed to be a few months crammed into a studio, and a hell of a lot of noise, turned into an arduous two year journey, which is chronicled in this documentary; Metallica - Some Kind Of Monster.
The documentary is a four-acter, in essence.
In the first act we see the band setting up shop in the Presidio, a former San Francisco military outpost, to record their new album. They actually manage to cram out a few songs, but it's immediately clear that the mood isn't right. The interpersonal relations between especially Hetfield and Ulrich do not stimulate creativity, and slowly but decidedly the entire proces grinds to a halt and the bickering begins. At this point Towle, the psychologist, and Bob Rock, the producer/temporary bassist, are the only ones holding things together.
The second act is the most interesting one, I feel. In this part of the documentary, Hetfield buckles under the pressure and constant disagreements, and walks out the door. He's not seen back on the premises for almost a year; a year, we later learn, he spent mostly in rehab, battling his alcohol problems. It is in this act that we get to know the drummer, Lars Ulrich, the self proclaimed 'most hated man in rock 'n roll'. And he has a point. The decades of unfettered ego and his attempts to shut down Napster hasn't made him particularly popular. We see the drummer's mounting frustration as he watches his beloved band fall apart; we see the drummer coming to terms with the impending break up.
The third act kicks off as Hetfield joins his bandmembers again. However, even then not all is peachy. Restraints on the creative process, due to Hetfield's rehabilitation rules, such as 'no work after 4 pm', threaten to topple the band once again. It's fascinating to see the new and improved Hetfield; the clash between his old self, the beer-swilling and insurmountably angry singer we see in archive footages spliced throughout, and his new self, the clean living, introspective person we see walking back in after rehab, is utterly fascinating to watch.
In the fourth and final act all loose ends are tied up. Metallica pulls it together, starts enjoying the proces again, and even writes a song or two. It is a pleasure to see how the engine starts rolling again, how jamming sessions evoke smiles and jokes again, and how, piece by piece, the album that is to be St. Anger comes to fruition. Another loose end is the bassist; we see the band settling for Ozzy Osbourne employee Robert Trujillo, a seemingly slightly bewildered musician who manages to bring a joy and dynamic back into the band's music. And finally we witness how the band tries to sever its connections with the psychologist; at first it was obvious that the band needed this man's input, but after Hetfield takes it upon himself to clean up his act, Towle's role becomes obsolete, a fact he himself refuses to recognise, even going so far as to make plans to move out from Kansas to the Metallica headquarters to permanently set up shop. This is both tragic and funny, to witness this man, who's struggling to save his lucrative job.
Throughout these four acts we also get to know the bandmembers not as musicians, but as human beings. You'll be hardpressed not to grin when you witness rock god and macho man Hetfield attend his infant daughter's ballet class; you feel Ulrich's pain as he decides to wipe the slate clean and auction off his momentous art collection; and you can truly sympathise with Hammett as he speaks about his ranch, and that he goes there to get way from the pressures of being the biggest rockband in history.
In the closing minutes we see Metallica in their natural habitat, on the road, touring, playing, promoting, laughing, and making a shitload of noise. This is what these men are meant to do, and it shows.
Like I said, I'm not a fan of Metallica's music, and I still am not, despite the fact that I found myself bobbing my head to the blaring music more often than not. That said, I have a new found respect for these three (now four) men, who have revolutionised rock music. It is a delight to see these craftsmen at work, however troubled, and to see the ebb and flow of the creative process that gives birth to a piece of music that will thrill millions of fans the world over.
A 77 out of 100.
Cheers
The initial idea of this documentary was simple; the filmmakers, Bruce Sinofsky and Joe Berlinger, would grab a camera and capture uber-rock group Metallica, as they return to the studio and produce a new album, an album which was to become 2003's St. Anger. The fact that there's a gap of two whole years between the first recorded shot and the release of the album should be an indicator of what you're about to see.
Right from the get go it is clear that the band is a mess, torn apart by internal struggles. They had just lost bassist Jason Newsted, due to creative differences, and the friction between the remaining three band members, James Hetfield, Kirk Hammett and Lars Ulrich, was growing constantly.To such an extent, even, that the band hired a $40.000-a-month psychologist/'life coach', who would assist the band, and try to get them to communicate and focus on the task at hand.
What was supposed to be a few months crammed into a studio, and a hell of a lot of noise, turned into an arduous two year journey, which is chronicled in this documentary; Metallica - Some Kind Of Monster.
The documentary is a four-acter, in essence.
In the first act we see the band setting up shop in the Presidio, a former San Francisco military outpost, to record their new album. They actually manage to cram out a few songs, but it's immediately clear that the mood isn't right. The interpersonal relations between especially Hetfield and Ulrich do not stimulate creativity, and slowly but decidedly the entire proces grinds to a halt and the bickering begins. At this point Towle, the psychologist, and Bob Rock, the producer/temporary bassist, are the only ones holding things together.
The second act is the most interesting one, I feel. In this part of the documentary, Hetfield buckles under the pressure and constant disagreements, and walks out the door. He's not seen back on the premises for almost a year; a year, we later learn, he spent mostly in rehab, battling his alcohol problems. It is in this act that we get to know the drummer, Lars Ulrich, the self proclaimed 'most hated man in rock 'n roll'. And he has a point. The decades of unfettered ego and his attempts to shut down Napster hasn't made him particularly popular. We see the drummer's mounting frustration as he watches his beloved band fall apart; we see the drummer coming to terms with the impending break up.
The third act kicks off as Hetfield joins his bandmembers again. However, even then not all is peachy. Restraints on the creative process, due to Hetfield's rehabilitation rules, such as 'no work after 4 pm', threaten to topple the band once again. It's fascinating to see the new and improved Hetfield; the clash between his old self, the beer-swilling and insurmountably angry singer we see in archive footages spliced throughout, and his new self, the clean living, introspective person we see walking back in after rehab, is utterly fascinating to watch.
In the fourth and final act all loose ends are tied up. Metallica pulls it together, starts enjoying the proces again, and even writes a song or two. It is a pleasure to see how the engine starts rolling again, how jamming sessions evoke smiles and jokes again, and how, piece by piece, the album that is to be St. Anger comes to fruition. Another loose end is the bassist; we see the band settling for Ozzy Osbourne employee Robert Trujillo, a seemingly slightly bewildered musician who manages to bring a joy and dynamic back into the band's music. And finally we witness how the band tries to sever its connections with the psychologist; at first it was obvious that the band needed this man's input, but after Hetfield takes it upon himself to clean up his act, Towle's role becomes obsolete, a fact he himself refuses to recognise, even going so far as to make plans to move out from Kansas to the Metallica headquarters to permanently set up shop. This is both tragic and funny, to witness this man, who's struggling to save his lucrative job.
Throughout these four acts we also get to know the bandmembers not as musicians, but as human beings. You'll be hardpressed not to grin when you witness rock god and macho man Hetfield attend his infant daughter's ballet class; you feel Ulrich's pain as he decides to wipe the slate clean and auction off his momentous art collection; and you can truly sympathise with Hammett as he speaks about his ranch, and that he goes there to get way from the pressures of being the biggest rockband in history.
In the closing minutes we see Metallica in their natural habitat, on the road, touring, playing, promoting, laughing, and making a shitload of noise. This is what these men are meant to do, and it shows.
Like I said, I'm not a fan of Metallica's music, and I still am not, despite the fact that I found myself bobbing my head to the blaring music more often than not. That said, I have a new found respect for these three (now four) men, who have revolutionised rock music. It is a delight to see these craftsmen at work, however troubled, and to see the ebb and flow of the creative process that gives birth to a piece of music that will thrill millions of fans the world over.
A 77 out of 100.
Cheers
1 Comments:
Hammett did come off as a bit of a pussy, yes. He disappears between the two monstrous ego's that are Hetfield and Ulrich.
Cheers
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