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Standing in the Shadows of Motown (PG)
© Artisan Entertainment. Photo by Karen Sas. - all rights reserved |
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| Tookey's Rating |
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9
/10 |
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| Average Rating |
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7.33
/10 |
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| Starring |
The Funk Brothers  : Jack "Black Jack" Ashford, Bob Babbitt, Johnny Griffith
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| Full Cast > |
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Directed by:
Paul Justman
Written by:
Walter Dallas and Ntozake Shange. Based on the book by Allan Slutsky
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| Released: |
2002 |
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| Genre: |
DOCUMENTARY
MUSICAL
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| Origin: |
US |
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| Colour: |
C |
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| Length: |
0 |
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All-time-great documentary that rewrites rock history. |
Reviewed by Chris Tookey
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| Who are the most successful rock musicians of all time? And who had more hits than the Beatles, Rolling Stones, Beach Boys and Elvis put together? The Funk Brothers, that's who. They played on every Tamla Motown hit, whether it was by the Supremes, Four Tops, Miracles, Martha and the Vandellas, Stevie Wonder or Marvin Gaye, but without any credit (except on Gaye's 1971 What's Going On album). Their names were virtually unknown outside a small recording studio in Detroit, called The Snakepit, which was really Motown owner Berry Gordy's garage. It's the achievement of Paul Justman's documentary that it pays respect to musicians who have been undervalued for four decades. The bass players, especially - James Jamerson (now dead) and Bob Babbitt (still going strong) - must rank among the very best of all time. In telling their story and bringing the ageing survivors back together for a concert in 2000 - like those Cuban old-timers who reconvened for The Buena Vista Social Club - Justman captures far more than nostalgia for a bygone era. This isn't just a lot of interesting information, it's also fabulous entertainment. Perhaps the greatest revelation is that, 41 years after they last played together, the Funk Brothers still perform with the same infectious enthusiasm and astonishing precision. Their sound is as fresh and exciting as ever. It's obvious that virtually any decent singer could have had a hit with these sidemen. As I write this, I'm listening to the CD from the movie, with new versions of old classics such as Heat Wave (sung by Joan Osborne), I Heard It Through The Grapevine (Ben Harper), What Becomes of the Brokenhearted (Joan Osborne again) and Ain't No Mountain High Enough (Chaka Khan and Montell Jordan). These are no ordinary cover versions. Thanks to new technology, they sound even better than the originals. The CD has won two Grammy awards, and the New York Film Critics voted this the best documentary of last year. I can understand their enthusiasm. I don't remember a music documentary that has given me as much enjoyment. It has minor faults. It doesn't probe deeply into any tensions there might have been within the group, nor does it more than hint at their resentment of Berry Gordy, the record mogul who kept them resolutely in the shadows, never paid them a dime in royalties and abandoned them summarily in 1972, when he believed they were past their sell-by date. Gordy is conspicuous by his absence. And the film doesn't give enough credit to the songwriters or record producers. But this never attempts to be a critical documentary. It works brilliantly as a celebration of some terrific talents and extremely likeable men. Their pride in their music and joy in each other's company come across with terrific power and charm. The film captures the camaraderie of music-making better than any movie since Alan Parker's The Commitments. These guys still swing (it comes as no surprise that all of them played jazz for their own amusement). They also stand as an inspirational example of blacks and whites working together. This has to be the most revelatory rockumentary of all time. Anybody who has ever loved a Tamla Motown record should seek it out, and drag along someone who hasn't. It should open a new generation's ears to the greatness of music that makes today's pop records look soulless and manufactured. There ain't no mountain high enough to keep me from seeing this movie again and again. | |
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