The Sad and Beautiful World of Sparklehorse (2016)

This is the first of two takes on one film. In viewing the film Eden and I found that we both had differing views of the film as a result of coming from two differing points of view- She is a big fan of the group, while I knew almost nothing about them. Because at Unseen we strive to present differing views and discussion of cinema, we're going to take two looks at The Strange and Beautiful World of Sparklehorse. Eden's review will run today and mine tomorrow. — Steve

In March 2010, musician, songwriter and producer Mark Linkous took his own life, leaving behind questions and few answers. For all accounts, he was a person who struggled with substance abuse, depression and physical pain. He also created beautiful, strange and evocative music, exploring his own personal mythologies and dreamlike reflections on the world.

The Strange and Beautiful World of Sparklehorse, a documentary on Linkous' life and music by filmmakers Alex Crowton and Bobby Dass provides a good introduction to Linkous for those unfamiliar with him. Those who know his music will find a lot of familiar ground.

As someone who's a huge fan of Linkous and Sparklehorse, I wanted a bit more from this documentary. The poetic narration by singer/songwriter and friend, Angela Faye Martin, takes some adjusting to initially but definitely sets the tone. This is much more an impressionistic take on Linkous' life and music than a straight biopic. Sparklehorse's music is played over dreamy images of wooded areas or cityscapes. There are short clips of music videos (or film that resembles music video).

Sparklehorse didn't perform many shows (Linkous didn't like performing) and as someone who was notoriously reserved, he didn't give a lot of interviews. In this documentary, most of Linkous' own insights seem to be taken from a single interview. Instead, filmmakers rely on many of Linkous' friends and fellow musicians to provide details – from Jonathan Donahue to Gemma Hayes – although some of his more well-known collaborators – Wayne Coyne of The Flaming Lips, Nina Perrson of A Camp and The Cardigans – aren't featured here. I'm sure much of that was more just scheduling than oversight, but I wanted to hear from more who knew him.

Sparklehorse's music does take center stage – the documentary rightfully focuses on that than Linkous' life. After a short glimpse of Linkous' former band, Dancing Hoods, it skips straight to his time with Sparklehorse, outlining the creation of the band's five albums. Still, due to the nature of this subject matter, it doesn't get too deep into the nitty-gritty of recording or producing. Fair enough that there are going to be gaps, but much of it feels like a primer rather than an insightful look at the creation of music.

I wanted to see a more human side to Linkous. Due to his reserved nature, he was always a bit of a mystery, in a capital-R Romantic kind of way. His family were coal miners and he even worked as chimney sweep. Even the overdose that left him in a wheelchair for a while added to his dark allure. And as much as all of that is part of Linkous' appeal as a musician, it feels like well-tread territory when it comes to discussing him. I wanted more moments of Martin talking about his excitement over working with David Lynch, or more of David Lowery reminiscing about when Linkous was one of the first ones to visit when his son was born. Instead, there is too much talk of the “darkness” that Linkous had inside him. I understand that's true, but he's left as much more of an enigma than a real person.

But maybe that's just how any movie about Linkous and Sparklehorse is going to end up. In the end, it's hard to really find fault with this documentary. It's well-intentioned and well-meant, and for all its flaws, I did watch it twice. I have no doubt Crowton and Dass just wanted to share their love of Sparklehorse with the world. I appreciate that they did.

Dying on the inside: Starred Up (Tribeca, 2014)

Right from the outset UK film STARRED UP is a claustrophobic, panic inducing experience, beginning with a new inmates being processed and remaining in the structure’s decaying yellowish labyrinth of corridors, cramped cells, and sliding bars. While the atmosphere is as chilling as any previous dramas set in prisons where appalling acts of brutality are the norm, this film stands out more the restraint that is often shown by inmates whose every primal instinct to give in to rage is tested. That’s not to say that there aren’t fearsome confrontations; acts of  violence arise that will make a chill run up your spine. Yet there is also a lot of conversation, often heated, and attempts to hash problems out as opposed to resorting to violence. The story does contain some fantastic and improbable turns of events so fans of recent trends of ultrarealistic drams might be a bit disappointed.

The result is a very satisfying drama with a powerful message and a story with enough thrills to move it forward dynamically. Director David Mackenzie and writer Jonathan Asser’s ability to achieve a few instances of humor in this most grim setting suggests a true storyteller’s gift, making the story far more memorable than if we were to just be bludgeoned by the same harsh truths over and over again.

We do not know what has landed 19 year old Eric a prison sentence, but his ferocity is rapidly established. After an assault on another inmate, with effects beyond those intended, Eric stages a showdown with a host of riot-gear clad guards, in which he manages to achieve the upper hand twice and put guards in the most precarious of situations in as many times. A resulting meeting between the warden, a high level administrator, and Oliver, a counselor volunteering to work at the prison on an experimental form of talk therapy with the prison’s more violent inmates, reveals that Eric has been ‘starred up,.’ This means he is a minor assigned to an adult facility because of the severity of his crimes.  Begrudgingly the warden, being suspect of the treatment being utilized at all, agrees to allow Eric to join these sessions with the caveat of any incidents landing him in solitary confinement.

Meanwhile, there is the double-edged sword of Eric‘s father, Neville being a long incarcerated inmate in the same wing he is assigned to carrying out a life sentence. On the one hand, his father is established as a formidable prisoner, one to steer clear of, which ensures Eric a certain level of protection. On the other hand, being around each other brings up all kinds of psychic damage for the two, with both of their bottled up feelings being unleashed into violent confrontations that bring as much harm as healing, sometimes standing in direct opposition to Eric‘s therapy taking hold.

As Eric engages in these sessions with Oliver’s  tightly bound group of prisoners, signs of progress appear. Yet the threat of conflict both within the group and outside of it are a constant threat to maintaining peace. Emotional power struggles arise around Neville’s sense of inadequacy as a father figure seeing Eric take to the members of this group, and an administration more eager to see -Oliver‘s progressive methods fail than succeed lurk in the background.

 The setting is a crucial component of the film. Doors being slammed shut into very cramped spaces. Structurally interesting, the cells are organized in ascending levels, spiraling upward daring those on the lower levels to attempt to climb. Eric‘s regular transcendence of this boundary suggests he is unwilling to conform to expectations, his boldness making him a compelling figure, and one whose survival is a constant question mark.

An image of a turnstile’s slow creaking rotation til reaching a thudding halt appears a few times. It makes a  simple yet powerful statement of endless frustrating cycles in prison systems like the ones we get a glimpse of here. Not recidivism, but progress at large, such Oliver’s attempts to reform rather than dehumanize prisoners, that is constantly blocked by those in control.

STARRED UP screens Sunday, April 20, Monday, the 21^st, Wednesday, the 23rd and Saturday, the 26th. Click here for more info and tobuy tickets.