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Left 4 dead soundtrack2/28/2023 ![]() ![]() ![]() Once Cale departs three-quarters in, you can feel Haynes’ interest wane. The other Velvets are discussed less thoroughly or, in the case of Yule, hardly at all. But for all of the background details we learn about Reed and John Cale’s upbringings, it’s not really intended to be a full account of the band’s history. ![]() Unlike those other films, his latest work, The Velvet Underground is a documentary. Haynes isn’t trying to tell us who these people “really” are he’s exploring how we, the audience, perceives them and what this shows about our collective pop-culture illusions and desires. Each of those movies are really about an “idea” of the subject: Karen Carpenter as a literal children’s doll slowly dying on the inside David Bowie as an elusive enigma who abandoned his transgressive past for pop glory Bob Dylan as a constantly shifting facade put on by several different actors. In his previous films about musicians - 1987’s Superstar: The Karen Carpenter Story (still only available as a bootleg due to brother Richard Carpenter’s objections), 1998’s Velvet Goldmine, and 2007’s I’m Not There - Todd Haynes was more interested in exploring aesthetics and mythology then doing a dry, journalistic run-through a mundane biography. ![]()
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