"Madonna: Truth or Dare" parmi les 5 documentaires musicaux les plus explosifs.
5 most explosive music documentaries
By CHRISTY LEMIRE, AP Movie Critic – 08/09/2010
LOS ANGELES – There are music documentaries that are all about the music — concert films that focus solely on the artistry and thrill of live performance — and then there are juicy ones that are all about backstage ego and volatility.
"I'm Still Here," which follows Joaquin Phoenix's tumultuous transformation from Oscar-nominated actor to shaggy, doughy rapper, would seem to fall into the latter category — if it truly is a documentary, that is, and not an elaborate put-on. Here are some other examples of serious rock-star behavior:
• "Bob Dylan: Don't Look Back" (1967): A classic from legendary documentarian D.A. Pennebaker, this behind-the-scenes look at the 23-year-old Dylan set the standard for this kind of film. It's got all that famous imagery: the black-and-white verite photography, Dylan standing there tossing away cue cards with the lyrics to "Subterranean Homesick Blues." All impish charisma and childish impulse, Dylan tours England in 1965 with Joan Baez and Donovan, tussles with reporters and forges one of the many facets of his persona we'd come to know, or at least think we know. "Walk Hard: The Dewey Cox Story" parodies this time in Dylan's life with dead-on hilarity.
• "I Am Trying to Break Your Heart" (2002): Visually similar to "Don't Look Back" with its grainy, black-and-white cinematography, this documentary began life as an up-close depiction of the Chicago band Wilco as it stood on the brink of stardom. It ended up being an indictment of the corporations that run the recording industry. Led by singer-songwriter Jeff Tweedy, the band records its fourth album, "Yankee Hotel Foxtrot," only to reach an impasse with the label over its content. Frustrations lead to infighting. But director Sam Jones' film also functions beautifully in its performance scenes, whether in the intimacy of rehearsal or on stage, where Wilco enjoys a cult-like fan following.
• "Metallica: Some Kind of Monster" (2004): A riveting look at a turbulent time in the monstrously popular metal band's history. You don't have to be a Metallica fan to enjoy this movie (though there are plenty of recording sessions to watch if you are). Through the group's brutally honest therapy sessions, filmmakers Joe Berlinger and Bruce Sinofsky tell a story of loyalty, communication, redemption and the challenges that come with continuing a career in your 40s. The members of Metallica fight, record their album "St. Anger," fight some more, and eventually find some kind of peace. The film is so nonjudgmental — and often so insightful — it never falls into "Spinal Tap"-style parody.
• "Gimme Shelter" (1970): Another classic from another legendary documentarian, Albert Maysles. Here, the volatility doesn't just exist backstage, it permeates every scene, swelling as the film leads up to its explosive climax: the Rolling Stones' concert at Altamont, where a clash between Hell's Angels and fans results in death. Maysles follows the band's 1969 tour, and the feeling of dread is inescapable; the fact that we know what's coming at the end in no way depletes it of its suspense. Mick Jagger tries to quell tensions from the stage, but even being a sexy and charming rock star does no good in a violent crowd of hundreds of thousands. The band's reaction to the footage afterward is chilling.
• "Madonna: Truth or Dare" (1991): A striking mix of black and white with bursts of color during the concert scenes, which seems fitting for Madonna, given the dramatically fluctuating images of herself she presents to the world. Director Alek Keshishian follows Madonna on her grueling 1990 Blond Ambition tour and provides many of the moments we've come to associate with the pop star: the pre-show prayer circles, the sex games with her dancers, the backstage dissing of Kevin Costner. She's always fully aware she's being filmed, of course — don't kid yourself that you're seeing the "real" Madonna. As "herself," though, she certainly gives a better performance than she did in "Swept Away." And if it doesn't happen on camera for Madonna, as Warren Beatty astutely observes, it may as well not happen at all.