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anni [60] : A Headbanger's Journey - Il Film
Inviato da admin il 30/3/2007 8:56:53 (690 letture) News dello stesso autore
anni [60]



For those about to rock…we salute you, for those about to analyse Heavy Metal, the music, its fan base and its artists we quietly sit and take notes. On paper, an instructional documentary on the flamboyant music form that is Metal shouldn’t work. That it does here is in no small part due to our narrator, Sam Dunn and the natural charisma of the artists on show. Dunn makes for an endearing character as elaborate as his interviewees, he talks of his passion for Metal with all the enthusiasm of a 12 year old on a Ribena high. That 'Metal: A Headbanger’s Journey' remains an impartial watch throughout is a remarkable achievement. Dunn uses his scholarly background in Anthropology to really get down to the bare bones of the matter, to deconstruct the thing that makes him tick. The filmmakers examine everything from the early pioneering work of Led Zeppelin to the infamous cock-rock of Motley Crue. Dunn and McFadyen break down the subject into a series of chapters, creating a set of crowd pleasers, such as censorship, Metal’s links to Satanism and the music’s pull to the disenfranchised, whilst saving some surprising b-sides for a rousing finale. This exhaustive documentary cranks the detail all the way up to 11.


Heavy Metal has always been something of a curio to the uninitiated, rubber clad demi-gods fronting a pyrotechnic pantomime to thousands of thrashing bodies raising the horns in salute. For metalheads, this carnival of chaos is the ultimate pay-off, that feeling of brotherhood from the moment the riff kicks in to the epic fade out. Even looking from the outside in you have to admire the showmanship even if you are divided by the music. Early on we are given a glimpse into just how sprawling and complex the genre is as Dunn takes us through a genealogy of Metal, each sub-group and category that branches off sires its own, and often, more extreme bastard child. It would have been an easy route out just to focus on the eccentricities of each group, dealing in their radical ideologies. However, to Dunn and McFadyen’s credit they never shy away from the ridiculous but rather repackage it and turn the eccentricities into strengths for the film to explore, whilst never allowing them to hijack it. One particularly revealing chapter focuses on the uber-masculine posturing associated with Heavy Metal and the masculine gaze of the fans upon the feminised appearance of some of the stars. Essentially some of these Metalheads, all studs and black leather, are idolising the fetishised male body. It is a fascinating juxtaposition and one that probably deserves greater analysis than this documentary can afford. Of course, there is only so much ground you can cover in a 90-minute film.



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