Ostensibly about the ultra-obscure New York art-punk scene of 1977-82, this cleverly edited film is really a meditation on originality and nostalgia.
Kill Your Idols (2006)
Runtime: 75 mins
Synopsis: A comprehensive survey of some of New York City's post-punk bands, this documentary is equal parts art and music. It starts in 1972, pauses briefly in 1982, and stops in 2002, looking at influential acts during that timeline. The No Wave bands of the early '70s make up the first segment of the... A comprehensive survey of some of New York City's post-punk bands, this documentary is equal parts art and music. It starts in 1972, pauses briefly in 1982, and stops in 2002, looking at influential acts during that timeline. The No Wave bands of the early '70s make up the first segment of the film. Gritty black-and-white footage of live performances in SoHo clubs feature Suicide (Martin Rev), Teenage Jesus and The Jerks (Lydia Lunch), the Theoretical Girls (Glenn Branca), and DNA (Arto Lindsay). The music is followed by candid interviews with the artists, filmed in 2002, on digital video, in color. They comment on the political atmosphere in downtown New York at that time, discuss punk influences like Iggy Pop, and explain that they were trying to make something new, even if it wasn't music. Skipping to the '80s, Sonic Youth (Thurston Moore, Lee Renaldo) and the Swans (Michael Gira) emerge on the scene, and early live B&W footage is shown. The final chapter in this fascinating rock-doc takes viewers to 2002, where a smattering of youthful bands mimic the aforementioned. The Yeah Yeah Yeahs talk about their overnight fame. And other post-punk acts like Liars, Black Dice, and the delectable gypsy band Gogol Bordello chime in, with band members sharing their thoughts on the music they make and how it compares to those earlier sounds. Director-producer-photographer S.A. Crary, who made this movie for under $300, pulls it all together with cool title cards, sequences of experimental photography, and abstract chapter headings, making KILL YOUR IDOLS thoroughly enjoyable, and informative. [More]
Genre: Musical & Performing Arts
Starring: Arto Lindsay, Lydia Lunch, Glenn Branca, Yeah Yeah Yeahs, Gogol Bordello
Reviews
Written, photographed, produced, edited, and directed by 26-year-old visual artist S A Crary, Kill Your Idols enjoyably documents the so-called No Wave scene.
This is little more than a sketchy portrait of two fascinating cultural moments with only geography and 70-ish minutes of celluloid connecting them.
Kill Your Idols then takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
Discordant documentary on New York's "No Wave" art-punk music scene begins in fertile territory but squanders everything with a lengthy and ill-considered comparison to more recent bands.
The film is well done, capturing a brief, unimportant moment in musical history.
The documentary enters more dubious territory when it tries to present today's more consumer-friendly post-punkers (like the Strokes and Yeah Yeah Yeahs) as some sort of successors.
...an atonal love letter to a single corner of the culture - one built, in the words of singer Lydia Lunch, on 'beauty and truth and filth.'
S. A. Crary's music documentary examines New York's No Wave scene of the late 1970's an offshoot of punk, the anti-New Wave.
Crary takes the usual talking- heads- and- archival- footage approach, which isn't really a problem, though the film's whirlwind approach is.
Kill Your Idols pulls a few punches, tempering its respect for No Wave values like extremity and contentiousness with a more 2006 concern for not actually offending anyone in particular.
Reminds you that for every Sonic Youth, there's a hundred bad New York bands that can't play their own instruments.
The film's construction isn't groundbreaking but the shrill freakshow of talking heads is revealing, conveying how revolutionary spirits can spread their own form of oppressive bile.
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by: PETASON 3/23/05


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