![]() Another who springs to mind with this talent is Mark Cousins, making for something absorbing both visually and aurally, in a way to match the more obvious story being told with perfect balance. In contrast, and I can only think this was added later, we get clips of Niven from the 1946 movie that sees him return from a perceived afterlife.Īlong with this Temple takes clips of other films and imagery to really use his chosen medium to tell the story he wants to tell and make the points he wants to make in a way very few manage. Throughout the film Temple calls back to these two pictures in different ways much of the interview with Johnson is conducted on the beach at Canvey with the guitarist sat across a chess board from a robed figure, highlighting the (then) inevitable and unwinnable game with the reaper. In that regard, for The Ecstasy of Wilko Johnson he takes 1946 David Niven vehicle, A Matter of Life and Death, and Ingmar Bergman’s The Seventh Seal. Having built a reputation documenting particularly British bands, musicians and institutions from The Sex Pistols and Joe Strummer to Glastonbury and London (in The Modern Babylon), Temple takes a subject and lays it alongside other British archetypes through film and other imagery to create documentaries that tell the story of their subject but also offer insight into what they may mean to culture as a whole. In most hands this would likely have become an enjoyable career retrospective and partner to the concert film shot in 2013 at Koko in London carrying on where 2009 film Oil City Confidential left off, Temple though is not most hands. At this point, for what all expected to be barely a few months, his career went into overdrive as he appeared on BBC Breakfast TV and in pretty much every UK newspaper while crisscrossing not only the British Isles but Japan as well, as he undertook a farewell tour.Īt the same time filmmaker Julien Temple documented this while conducting seemingly lengthy interviews with Johnson to create this feature, The Ecstasy of Wilko Johnson. Sex Pistols Number 1 (coregia/codirector John Tiberi, cm, doc., 1977), The Great Rock’n’Roll Swindle (La grande truffa del rock’n’roll, 1980), Absolute Beginners (1986), Earth Girls Are Easy (Le ragazze della terra sono facili, 1988), Vigo (Vigo, passione per la vita, 1998), The Filth and the Fury (Sex Pistols - Oscenità e furore, doc., 2000), Glastonbury (doc., 2006), Joe Strummer: The Future Is Unwritten (Il futuro non è scritto - Joe Strummer, doc., 2007), Oil City Confidential (doc., 2009), Requiem for Detroit? (doc., 2010), London - The Modern Babylon (doc., 2012), Rio 50 Degrees (doc., 2014), The Ecstasy of Wilko Johnson (doc., 2015), My Life Story (doc., 2017).In January 2013 rhythm and blues guitarist Wilko Johnson was diagnosed with terminal pancreatic cancer and, electing not to go through chemotherapy, was given 10 months to live. In 2014 he received the Gran Premio Torino. He participated at the Torino Film Festival on multiple occasions, presenting the documentaries Joe Strummer: The Future Is Unwritten (2007), Oil City Confidential (2009), Requiem for Detroit? (2010), London - The Modern Babylon (2012), The Ecstasy of Wilko Johnson (2015). He directed several music videos, many feature films (including Absolute Beginners, 1986 and Earth Girls Are Easy, 1988), and music documentaries (such as The Filth and the Fury, 2000 and Glastonbury, 2006). He debuted with the short Sex Pistols Number 1 (1977), followed by the punk culture documentary The Great Rock’n’Roll Swindle (1980). Julien Temple (London, UK, 1953) studied filmmaking at the National Film and Television School.
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