Neil Young: Heart of Gold (2006)

Purely Joyful Movie!

Highly Overrated But Still Good

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

I too, like Neil Young. He is definitely an icon in the music world, and much of what we have today in the way of music is based on people like him, the Beatles, Sex Pistols, etc.HOWEVER...I think that people come to a point where they think something is GOOD just because an ICON is singing it. This movie, for the most part, bored the crap out me as Neil sung about his guitar "it cries when I leave it" his kids "they will move on." It is like he takes a statement and puts it to music, and that is BORING. Like me singing "I went to the store. Bought some eggs" The end of the show is awesome...he plays some of the songs with which most are familiar.

Of course I have disappeared into the movies. The Neil Young concert film 'Heart of Gold.' There have been many great concert films through the years. The best being Martin Scorsese's 'The Last Waltz' which filmed the Band's last concert at Filmore West. A phenomenal concert and a phenomenal film, that is if you love rock and roll and felt as if you had been born into it and were part of the music, and could be in the band if you had a better guitar and someone would show you the chords and that with a few chords and a lyric or two you could change the world...as you can guess I felt all five to the bottom of my twenty four year old soul. Neil Young was in 'The Last Waltz.' They had to digitally, before digital actually, they had to manually scrape a big hanging cocaine rock that extruded from his nose so in the film there's a bright light that is not the star of Bethlehem dangling above his lip and below his nostril...it's a famous bit of rock and roll history. But 'The Last Waltz' was made when the Band and Neil and everyone else was in their thirties and 'Heart of Gold' was filmed last year when Neil is in his sixties and his band looks as if they are in their late nineties and the entire movie could visually be used by the Christian Right and the DEA in the same way that those Ohio State Patrol films of the perils of drunk driving were used when I was in high school showing dead teenagers hanging through front windows or dangling from trees or bloody in a ditch. Close your eyes and it is a terrific concert, open them and view Dorian Grey's hidden portrait. Case in point, the once ethereally beautiful Emmylou Harris literally coming out of the darkness to sing with Neil and from dark to light appearing to be a ring wraith leapt full borne out of the river in front of Rivendale. Ghastly, ghostlike, a nose that doesn't appear in nature and is not an advertisement for plastic surgery, eyes that make buttons on dolls look lifelike, and the ability to express any emotion, human or not, constrained by unrestrained over indulgence in Botox. My mind reeled...porcupine...Peru...Jack Daniels...living hard for decades...my god...sweet Emmylou Harris who I saw sing for free at Fred's in Boulder, a face a 2000 year dead Pharoah would not accept. But the voice, as pure as a thick lipped bottle of Boulder beer brewed from the waters of Boulder Creek and I closed my eyes and smelled ammmmmbbbererrrrrrrrrgerrrrrrrssss (an homage...one must use homage at least once in any film review...to Fred's hamburgers on Boulder Mall and the Steve Martin Pink Panther movie). It would have been a terrific concert sitting in the dark in Ryman Auditorium, maybe twenty rows back. But, close up, in close ups, it was a medieval morality play depicting the horrors of indulgence and the consequences of a sinful life. The concert theme, emblazoned on the scenery, A Prairie Wind...the last song, massed guitars (I counted eight) and I wondered if irony was at play. I don't think so. A Native American bass player, a lead guitarist who looked and dressed like Buffalo Bill, a piano player whose face looked like the screamer's face in Munch's The Scream, the chick singers (actually matronly singers, mostly reminding one of the lost youth of senior United flight attendants still plying the friendly skies) dressed in matching full length distressed denim dresses...no it was played straight. None of them had seen, I would bet, A Mighty Wind. It will be a great CD, and would be glad to tell tales of hippy dippy Boulder when Neil was a long haired Canadian crooner whose indecipherable lyrics seemed to mirror heartache and loss, feelings as universal then as now. But, only in a dark bar.

"Thrasher" has always been one of my all-time favourite Neil songs. Hence the 'Summary' quotation. 'Course, most of Neil's words are quotable at the best of times.I would offer that, given the annual nature of Red Rocks per se, that the Warner DVD issued 2000 "Red Rocks Live" was an intimation/invitation for what was to come: "Heart of Gold" or, 'HoG'.Regardless of content, I would/will fall over any 'live' presentation of Neil's work. HoG, however, has a nuance, a special feeling if you will, which reflects our/his mortality but, at the same time has a positive 'read' on life. Young doesn't have Randy Newman's cynical take on the 'American Dream': what he offers is that same dream complete with hope. Physically, he's getting craggier: looks more and more like cro-magnon man. BUT, we've been taught that that same 'man' is a genetic 'dead-end'. Neanderthals rule. Did I just say that? Neil Young sits, always, balanced upon a fence which OUR perceptions have created. As a poet and social commentator and, at times, eclectic rocker, his ability to move us, mentally, emotionally and sensually, makes him a 20th Century icon who has moved, almost seamlessly, into the 21st Century. HoG is a wonderful evocation of what it means to never ever be invited into/onto "The Grand Ol' Opry(?)" but to cram a large Nashville audience into another (perhaps better) venue, and there to slay them!Yet, in the middle of some of the best acoustic/country songs ever written, there is a singer/songwriter seemingly uncomfortable with his legacy: "From Hank to Hendrix". There has always been an honesty and integrity to Young's work. Uncomfortable as it at times seems: "Tonight's The Night" or, perhaps, "Trans"; his reasons for recording same are the same reasons that drove him to record "ARC/WELD". Young is always 'pushing the envelope' at the same time that he revisits country and folk music per se. Always, there is a seemingly positive attitude to life: one reflected in the golden light (a la Dutch masters) constantly present in the film. And therein, perhaps, lies a lesson. Mortality waits for all of us. Neil makes it more acceptable.

Neil Young turned 60 last year. It was not his easiest year. His father died, a man very dear to Young, the man who really started Young on his long musical career when he gave him an Arthur Godfrey ukulele when he was seven or so. To make a grievous year worse, Young was discovered to have a life threatening cerebral aneurysm and required two surgical procedures to correct it, operations that were sandwiched in between recording sessions for his newest album, "Prairie Wind." Nevertheless, he came back and, surrounded by his longtime favorite musician friends and others, gave a whale of a pair of concerts on August 18 and 19, 2005, at Nashville's fabled Ryman Auditorium, home to the Grand Ole Opry from 1943 to 1974. Jonathan Demme and a first rate camera crew shot the show, and this film is the result.Demme, better known to many for his narrative films, like "The Silence of the Lambs," "Philadelphia" and "Beloved," brings plenty of experience to making performance films as well. In 1984 he collaborated with David Byrne and Talking Heads to make the highly regarded concert film, "Stop Making Sense," and in 1998 he filmed a concert by Brit folk-soft rocker Robyn Hitchcock, "Storefront Hitchcock." He also filmed the late monologist Spalding Gray's "Swimming to Cambodia" in 1987, and has made short performance films and videos with Neil Young and Bruce Springsteen. "Heart of Gold" opens with brief, informal interview segments with several of the band members and a few glimpses of Nashville in the vicinity of The Ryman. Then we cut to the chase, the concert itself, which has two segments.In the first part, Young and his band perform all but one of the 10 numbers on the "Prairie Wind" album; after that, there's a series of Young's past hits. There's just one song written by somebody else, Young's fellow Canadian Ian Tyson's wistful 1963 ballad, "Four Strong Winds," which Young tells the audience was an inspiration to him when he was getting started in music at age 17 or so. The concert is beautiful in every respect. Young still can deliver in his distinctively soulful, mellow, plains roots manner, often shifting up an octave into falsetto, a trademark sound of his. The accompanying musical group and their arrangements are all marvelous.The cinematography, a team effort led by DP Ellen Kuras ("I Shot Andy Warhol," "Bamboozled," "Eternal Sunshine of the Spotless Mind," "No Direction Home - Bob Dylan"), is sublime. Camera angles are imaginative; the shots are simple and held long, never distracting the viewer's attention from the musicians; and the focus is always on the stage, no swoopy audience shots are allowed. The editing, by Andy Keir ("Mandela," Beloved," "The Secret Lives of Dentists," "Off the Map") is just as it should be for a musical performance film: not a single song is interrupted even once. Stage backdrops in lovely colors - muted yellows and ochres – enhance the visual effects.The concert nicely balanced the new with the old in Young's music. If the fresh songs from "Prairie Wind" don't include any obvious blockbuster hits in the making, the uniform virtuosity with which they are written and delivered indicates that Young's talent is still very much intact. Before a song inspired by his 21 year old daughter, Young says he used to write numbers like this for women his own age when he was young, and "I've still got a few left in me." Maybe I'm starting a new genre now, though, one for "empty nester" songs, he goes on to say.Young doesn't shy away from nostalgia here. And why should he? At 60, a survivor of a bad year, with a wondrous songbook behind him, it is that time in life for anyone to begin to be reflective. He talks about his much used guitar, which he bought from Grant Boatwright years ago. It once belonged to Hank Williams, who played it on the Ryman stage in his last appearance there in 1951.For anyone whose formative or defining life experiences were, like mine, sometimes accompanied by Young's music – from his 1968 hit with Buffalo Springfield, "I Am a Child," and "Heart of Gold," in 1972, onward – this concert is sure to be emotionally compelling. For that matter, anyone who appreciates country-pop music, and the images of traditional Americana it evokes, cannot fail to find satisfaction watching this movie, satisfaction we also see in the faces of the players themselves, several of whom have worked with Young for 30 years or more, so glad to be back on stage with each other and with Young, their leader, feeling stronger again and healing.With Emmylou Harris (vocals, guitar), Ben Keith (band leader, steel guitar), Spooner Oldham (keyboards), Rick Rosas (bass), Grant Boatwright (guitar), Karl T. Himmel and Chad Cromwell (drums), Wayne Jackson of the Memphis Horns (trumpet), Neil's wife Pegi Young (vocals, guitar), Anthony Crawford (vocals, guitar), Diana Dewitt (vocals), Gary Pigg (vocals), Tom McGinley (tenor sax), Jimmy Sharp (guitar, vocals), Clinton Gregory (fiddle), Larry Cragg (guitar, banjo, trombone, fiddle, vocals, broom), the Fisk University Singers and The Nashville String Machine. My grade: A 10/10.