MEDIA COOL

MEDIA COOL

This month’s Media Cools were written by Bill Holdship.

CHUCK BERRY HAIL! HAIL! ROOK ’N’ ROLL (Universal)

This is one of the greatest rockumentaries ever, ranking right up there with The Last Waltz and The Kids Are Alright. Director Taylor Hackford has taken what was reportedly a pretty mediocre affair—an all“star” concert in St. Louis celebrating Chuck Berry’s 60th birthday—and turned it into a rock ’n’ roll classic. Actually, with one exception (namely, Etta James), the guest "star” footage is pretty unspectacular and even drags at times (Eric Clapton and yuppie fave Robert Cray are both rather boring; Linda Ronstadt’s “Back In The U.S.A.” remains the most lackluster Berry interpretation of all time, especially in light of stunning renditions by Jonathan Richman and the MC5, and I can think of at least 10 current artists who keep the John Lennon torch burning brighter than Julian does—to see him performing "Johnny B. Goode” seems almost sacrilegious). But the film really cooks when it’s down to Chuck and the base band, fronted by Keith Richards (who, ironically, has always seemed to play Berry guitar better than Chuck does). And it really, really cooks when it gets down to the interview segments with, among others, Bruce Springsteen, the Everly Brothers, Roy Orbison, Jerry Lee Lewis (who recalls telling Elvis “Boy, you are the Devil!”), Bo Diddley, Little Richard (who virtually steals the film with his hilarious ranting and raving—give this man his own documentary now) and Chuck himself. Even though Berry is listed as one of the film’s producers, a lot of his legendary warts and bitterness are still revealed through Hackford’s excellent techniques, but he doesn’t come out looking any worse for the wear and tear. This is a GREAT rock ’n’ roll movie. I can’t wait to own it on videocassette! B.H.

WRITTEN IN MY SOULs Conversations With Rock’s Groat Songwriters

bv Bill Flanagan (Contemporary Books)

Of course, the last thing I feel like reading right now is another rock ’n’ roll book ’cause rock ’n’ roll doesn’t exist today as anything other than a marketing tool, that is, selling image rather than art (I mean, does anyone remember listening to the radio, loving the music, and having no idea of what most of the artists even looked like?); the good things in the ’70s were nothing more than rigor mortis— which was still pretty fun ’cause rock ’n’ roll had once been such a wonderful thing that even rigor mortis had something magical about it—but now it’s pretty much dead, even though most books today subscribe to the marketing/image myth of rock meaning more than it actually does. But that’s beside the point, ’cause this is a pretty good book. Featuring interviews with 29 songwriting greats (and it’s a strange mix), the book is almost like a history of the music through the eyes of those who created it; the contents range from Willie Dixon and Chuck Berry to Bruce Springsteen and Elvis Costello. Reading “Q & A” interviews is always more fun when they’re conversational in tone, and Flanagan (executive editor of Musician magazine) pulls off all 29 intelligently and enjoyably. Plus, it includes the only interview Springsteen has given (aside from Marsh’s Glory Days) in recent years. Good stuff. Now, let’s see a book called Rock ’N’ Roll: What Happened? B.H.

BABY BOOM

(United Artists)

I keep hearing that this is “anti-feminist” (well, only if you consider motherhood to constitute second-class citizenship) and totally unbelievable. Actually, I didn’t have any trouble suspending disbelief, although the latter accusation doesn’t really matter ’cause this is pretty much an ’80s update of those ancient Hollywood “screwball” comedies—and it’s a pretty dandy one at that. This is Diane Keaton’s most charming performance in years. She’s absolutely perfect as J.C. Wiatt, a super-executive who suddenly inherits the baby of a deceased relative, loses her live-in lover (Harold Ramis) and job as a result, moves to Vermont, falls in love with the local veterinarian (Sam Shepard in yet another unremarkable performance)—and, after much trial and tribulation, ends up happily ever after. The twins who play the baby Elizabeth deserve serious consideration for the first Oscar awarded to someone under three; they’re wonderful. ’Course, I’m always a sucker for an adorable baby. After all is said and done, this is some enjoyable and heartwarming entertainment. What more do you want? B.H.

HOPE AND GLORY

(Columbia)

This is one of the year’s best. Hope And Glory is writer-director John Boorman’s remembrance of growing up during World War II right in the midst of the London bombing blitz. Young Bill (Sebastian Rice Edwards) is the only “man” at home with his mother (Sarah Miles) and two sisters, as dad has enlisted in the army. It’s basically a slice of life, but Boorman (who also his Excalibur and The Emerald Forest on his list of credits) turns what could have been a depressing, stodgy view of the world into something that is hilarious (it’s a very funny film), sentimental and uplifting—almost like a British Radio Days. Character actor Ian Bannen should be a shoo-in for an Oscar nomination this spring with his wonderful portrayal of the family’s eccentric grandfather. Don’t miss this one. It’s a real treat. B.H.