Kurt Cobain film "About A Son" Writer + Director Q & A скачать в хорошем качестве

Kurt Cobain film "About A Son" Writer + Director Q & A

In what amounted to group therapy -- with visuals --along the lines of Courtney Love's reading aloud of Kurt's suicide note over a local radio station after his death, "About A Son" the film fusing Cobain's interviews with Rolling Stone writer Michael Azerad over director AJ Schnack's montages of varying relevance and often a too literalistic bent, is a labor of love that will still deliver for many, a much-needed wake. One attendee who'd read Azerad's tome described the film as "watching an audiobook". Not a bad thing, although the director, in his admitted appreciation for Godfrey Reggio's narration-free documentary Koyanisquatsi, may have failed to consider enough the fact that Reggio's montages worked because they weren't in the service of an idea being spoken. Soundtrack-wise it's instantly understandable why there are no Nirvana songs in the film and it's a necessary, smart move to keep things nice and personal, tho' they went to the twee option (and that's not a word I really use much, I'm not that sort of cynic) a few too many times. But when Azerad commented post-screening that the songs comprised what a mixtape from Kurt might sound like, it was instantly rendered a must-hear artifact (again, not a bad thing) rather than necessarily the perfect song for a given moment in the film, tho there were a few of those as well: hearing Bad Brains during Kurt's description of his long-delayed punk awakening, or Mudhoney when speaking definitively of a place and time and label or the use of the quiet, almost spacey meditatively self-hummed feel of that Woody Guthrie tune about a motor-sickle, which just seems to match Kurt's admitted weeks spent shut-in, more often, apparently, by choice than depression. And while pastiches of his old haunts make it feel like a proper home movie (again, not a bad thing in this case, given the subject), one also leaves the film wondering what the other 23 and a half hours of audio interviews offer. Suffice to say, given the global audience, this movie will likely do well, maybe both in theatres and home release. After the film the audience was very, very quiet, before busting into applause. Not as quiet, as say, audiences at "Dancer In The Dark", but profoundly moved nonetheless. And while the director and writer said they wanted to show his humor, it was in many ways a downer nonetheless. It was funny and cathartic to hear Kurt's discussion of divorce as a "disease" that plagued him and his peers around '72, '73, in addition his confessing to being a straight-up hater (but in a good way), to his venting about his dad being the kind of guy whom wouldn't cry over spilled milk, but he'd make you cry over spilled milk. What's depressing is how much like his parents he became. He accuses his dad of quitting on him, vowing never to do it to his daughter under any conditions -- even divorce -- but he instead leaves her a picture of his shoe in a newspaper. I've declined describing too many passages from the film specifically, because given what it is, it seems best for you to hear the man -- or at least these 90 minutes on film -- for yourself.