After his first solo outing with brother Joel, he made his directorial debut Macbeth’s tragedyEthan Cohen chooses a similar story of ruthless ambition and soul-shattering guilt, telling the rise and fall of Jerry Lee Lewis – and re-emerging, from Farmer’s Son to Rock’n’Roll Idol.
Quinn’s Special Screening Cannes Film Festival Entry Jerry Lee Lewis: Mental problems A linear narrative and traditional talk-head format enters a very crowded music-dock field with an approach that can confuse people of hope. All they get is a first-person memoir, using snippets from the singer’s many years of TV interviews, combined with amazing live footage that highlights his incredible versatility, moving effortlessly across rock’n’roll, rockbilly, blues, blues – Soul, country-rock and country-blues; Acting subgener after subgener.
A good title for the film comes from a conversation Lewis had with Sun Records guru Sam Phillips in his early days, which, apart from recording any number of his 1950s hits, ranged from “Whole Lota Shakin ‘Going On” to “Great”. Tortured by his love for On’Roll, Lewis – who describes himself as a “Christian-minded” rather than a Christian like his cousin Jimmy Swaggart – expresses his concern about the ungodly feelings his musical talent expresses in him. “How can that be? Does the Devil Protect the Soul? “Is a question that has plagued his peers, especially Johnny Cash (temporary glimpse) and Little Richard, but Lewis is far ahead of both in his exciting personal life. Sets it up with eyebrow-raised archive video playing “To Say Goodbye” Ed Sullivan showUndercutting the bloody-hearted feeling of the song with a demonic, satirical performance.
In any of Jerry Lee’s discussions, the elephant in the house is his marriage to his 13-year-old cousin Myra Brown in 1958, which Cohen and his editor (wife Tricia Cook) threw just 15 minutes or so later. Myra later appeared in the film as an adult woman, but the documentary in the first instance describes not how the scandal ruined Lewis’ career, but how she never regained the favor of the people.
The context of working American society plays a big role in this, as the filmmakers established his vast family network and the less reported fact is that, at the age of 22, Lewis was already married twice at the age of 16. Still, it’s hard not to be shocked by the casual laughter that welcomes Bob Hope’s comments on the subject when he jokes, “Jerry Lee Lewis has just become a father – he’s adopted his wife.”
The controversy that has plagued Lewis all his life is not the unfortunate death rate among many of his wives, It hurts It is surprisingly easy on it, and the tabloid material omitted here will easily create a document of the same length, if not longer.
Still, the dark moments unfold in the break, and in a wonderfully Coens-esque juxtaposition, the film draws on Lewis’s bizarre 1970s re-enactment as an Andy Williams-style family entertainer (the style of dress on the show here is contrasted only by Stanley Nelson Jr.). Miles Davis: Birth of the Cool) A clip from a chat show host who reminds much older Mira Brown when her ex-husband shoots her base player. “But he went back to her, didn’t he?” Host adds. “He didn’t,” Brown corrected.
Although it explains Lewis’ position in the sky at Rock’n’Roll because it was originally configured that day, Quinn’s film never expanded that way; Elvis Presley literally appears in a background that appears in a blue-up shot of the so-called “million-dollar quartet”, with Carl Perkins and Johnny Cash in a Lewis and Presley costume set at the Sun Studio. When asked about Presley’s success, Lewis scoffed that Elvis did it only because he had a manager – Colonel Tom Parker – who treated him like a “caged monkey.”
Surprisingly, Lewis has kind words to say about Chuck Berry, a felt rival and the subject of an anecdote that is not repeated here but is seen in the watery biopic. Great ball of fire When Lee sets fire to his piano and shouts, “Follow that …” In It hurts“Chuck Berry was the king of Rock’n’Roll,” he said. Quote: Jerry Lee Lewis. “
Quinn’s film reached the ears at a crucial time, and the decision to platform such an image would be legitimately criticized. But the value given to any discussion of Jerry Lee Lewis is that the true dark side of his personality has always been a matter of concern and what It hurts Fraudulently reminding us that without these real pains (Brown calls them “monsters”), this irritating performance might never have happened (an exciting call-and-response with Tom Jones shows Little Richard Medley Lewis at his best. His natural flair, Wild-Man Foot-on-the-Keyboard Theatrics).
Throughout the film, Lewis’s face is a mocking mask, with heavy-veiled eyes and waxy skin, but it is dramatically weakened by the film’s closing code, a gospel session recorded in 2020. His presentation of “Amazing Grace” may not be enough to convince his loyal fans, save his mortal soul, but it is a touching place to say goodbye to a man who is probably not aware of the word “projection”, calling everyone a “killer”. .