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Zappa.

我应该承认我从未如此过于这么多弗兰克·萨帕风扇。我当然很欣赏他对他的生命和工作的挑衅性的识别水平,以及他用发明母亲记录的两个精选专辑,吓坏了(1966)和我们只是为了钱(1968年),是我音乐集合的一部分。但是听听他的音乐总是让我变得更像是一个嗜气,而不是一个乐趣,这来自一个是一个骄傲的持续的CACOCOCONO的人娄芦苇s金属机音乐。即使在工作室之外,他也有一些关于他的事情,我总是发现他所做的每一件令人钦佩的事情,如他勇敢和原则上的威力在八十年代审查员,就会有一些面试in which every word he said seemed to practically drip with self-satisfied contempt for everyone who wasn’t him.

所以我看着“zappa”,亚历克斯冬天对Zappa的生命的纪录片检查,并与一点点牵引合作。毕竟,最近的大多数音乐纪录片都是主要针对他们受试者的粉丝基地的作品,并且很少试图吸引那些尚未在折叠中的人,如果你是一个粉丝,如果你不是那么多aren’t. Despite this, or possibly because of it, I found the film to be an engrossing look at Zappa and his legacy that nevertheless avoids the mere hagiography that films of this sort run the risk of embracing when not handled properly.

虽然这部电影以大部分时间的方式展开,但它开始于Zappa最后记录的吉他性能的镜头结束,捷克共和国的出现纪念俄罗斯军队撤离。根据他们准备开始一个完全新的生活方式的人群,他建议他们“保持独特”,这是一个明显推动他的格言。随着电影揭示的,当他第一次遇到Edgar Varese的作品时,他首先对音乐感兴趣,其节奏以埃德加·瓦雷泽的作品常常被反对派驳斥的噪音。未来队长的友谊与Don Van Vliet友谊,让他致力于布鲁斯,他开始编写体系,这些音乐将反映这些影响,包括在传奇的比分上工作蒂莫西凯莉邪教经典“世界上最伟大的罪人”。

因此,开始了当代音乐中最奇怪的职业生涯之一,其中涵盖了音乐海滨的任何港口,最终会看到他与每个人一起工作爱丽丝库珀到伦敦交响乐团。由于商业标准,他多年来的令人难以置信的产出并没有多少,但从他最早的日子里,如1967年在纽约在纽约进行了较延长的六个月的音乐会,他吸引了一个小但是奉献的粉丝将继续包括音乐中的一些最大名字。尽管他的记录销售是微薄的,但是在一个观点中的合作伙伴们的评论,他似乎故意破坏自己,以避免在他的七十年代居住在他的七十多个专辑中仍然很有名。he was invited to host “Saturday Night Live” at the height of the show’s initial popularity in 1978. He even managed to have a fluke hit song when “Valley Girl,” a song that he did with his daughter, Moon Unit, landed in the Top 40 in 1982.

随着电影揭示的,Zappa的讽刺和权威的不信任是一种姿势。作为一个年轻人收入足够的钱来购买自己的录音室后,他被设置为一个副主角和伤口突然失去了这个地方。这激发了一个终身渴望在任何地方都可以找到,从欺骗他们的自负SGT。Pepper的孤独的心俱乐部乐队我们只是为了钱,形成自己的记录公司,以便他能够记录并释放他想要的东西。This also led to him stepping up to testify against the attempts by the Parent’s Music Resource Center to censor music lyrics even though his songs were not the ones that had people up in arms (though some of his more questionable lyrics might have raised eyebrows if those at the PMRC had actually listened to them). Zappa became such a symbol for anti-censorship forces that after the aforementioned trip to Czechoslovakia, he was appointed the country’s cultural and trade representative to the United States.

Although the film does feature a few new interviews with family, friends, and former band members, the bulk of “Zappa” consists of material that Winter was able to access from Zappa’s own massive archives, which are voluminous to cover everything from home movies he shot with his family as a child, to working on new music only a few days before his death from prostate cancer at the age of 53 in 1993. Through all this, we get a portrait of a man who was clearly both a musical innovator and a perfectionist of the highest degree who would think nothing of rehearsing over and over again until what he and his musicians played matched the sound that he heard in his head. This single-minded pursuit of perfection—in which the concerns of all others, from audiences to his own family, were always of secondary concern—would often make him come across as monstrously self-absorbed in the eyes of many. To the credit of Winter (who has gone from co-starring in the “Bill & Ted” movies to directing a number of interesting documentaries on subjects ranging from the Internet to the Panama Papers to child actors), he does not try to sugarcoat this aspect of Zappa’s personality, though most of the colleagues who are interviewed follow up they acknowledgements of the difficulties of working with him with admissions that it was ultimately worth the trouble.

“Zappa”包含两个真正的缺陷。虽然一些Zappa的歌词被批评为性别歧视和诽谤 - 这是那些写下无死经典的人“不要吃黄雪” - 他的音乐输出的方面几乎是光泽的。另一个问题是,缺乏他歌曲的任何完整表演都不会在那些尚未依靠那个方向倾斜的人之间的音乐天才的情况。除此之外,这部电影是一个复杂且令人惊讶的令人满意的艺术家肖像,他们蔑视不同鼓手(或两人)的节拍。

Peter Sobczynski.

Peter Sobczynski是eFilmcritic.com和Magill的电影年度的贡献者,可以每周听到国家融合的“Mancow早晨疯了舍”的广播节目。

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