This Is Spinal Tap (Marty DiBergi, 1984)

“Have a good time, all the time.” — Viv Savage

viv zombie

Much has been written about the career of Spinal Tap, the second greatest rock band to ever come out of England, apologies to The Rolling Stones. The longevity of the band, their expert songwriting, and their general loudness have all become the gold standard for nearly every musician that has followed in their wake. Often referred to as “Heavy Metal’s Susan Lucci”, Spinal Tap’s annual snubbing by the Rock ‘n’ Roll Hall of Fame is a travesty of monumental proportions, especially considering the band has written two of the very best songs with the Hall’s name in the title, Rock ‘n’ Rolls “Creation” and “Nightmare”.

While the core personnel has been the same since the 1960s, and principal songwriters David St. Hubbins and Nigel Tufnel have a relationship going “all the way home” back to childhood, one of the most famous elements of the band is their constant retinue of replacement players. Drummers in particular. And while these performers have ranged from the perfunctory (“Gimme Some Money” percussionist John “Stumpy” Pepys) to the incongruously virtuosic (Nigel’s temporary replacement, Ricky, “the hottest lead guitarist in San Francisco”), some of these musicians made lasting contributions with the band and they deserve to be remembered. None more so than keyboardist Viv Savage.

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The Iron Ministry (J.P. Sniadecki, 2014)

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The Iron Ministry is the first film in many years to begin with an overture. Particularly popular with the opulent studio productions of the 1950s and ’60s, the practice of including an orchestral score as prelude to the narrative was intended to provide gravitas to the proceedings as well as act as a transition from the real world to the cinematic. The overture in The Iron Ministry definitely provides the latter, but unlike films such as Ben-Hur, the music is not grasping at majesty. In fact, it’s not really music. As the droning sound plays out we discover that it is not a string section but the straining sound of metal on metal of a train moving along its tracks.

Filmed between 2011 and 2013, The Iron Ministry takes place entirely on trains traversing through China on the world’s largest railway network. The film is another project released under the Sensory Ethnography Lab, whose ascendence among cinephiles has been astronomical in recent years, thanks to a string of well-received releases such as Leviathan and Sweetgrass. The Ethnography Lab’s immersive documentaries have provided some of the most unexpected thrills in cinema as of late and The Iron Ministry is no exception. The film does not possess the formal rigor of something like the glorious gondola ride of Manakamana but that is not what this subject calls for. In fact, it needs the opposite, an embracement of movement and messiness.

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The Wolfpack (Crystal Moselle, 2015)

Reservoir dogs

Premiering at Sundance in 2015, where it won the U.S. Documentary Grand Jury Prize, The Wolfpack is a maddening documentary for opposite, simultaneous reasons: chaotic story framing and contrived framing. The film, from first time director Crystal Moselle, records scenes in the life of the Angulo family, a life confined – under the demands of a dictatorial father – to a small New York apartment. The mother and the 7 homeschooled children, 6 boys and 1 girl, are essential prisoners in their own home, where the boys’ only relief and only window to an outside world lies in the access they are granted to recorded movies, which they constantly watch and then elaborately reconstruct, acting out scenes from the likes of Reservoir Dogs, Pulp Fiction, and Goodfellas.

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SIFF 2015: Don’t Think I’ve Forgotten: Cambodia’s Lost Rock & Roll (John Pirozzi, 2014)

This is part of our coverage of the 2015 Seattle International Film Festival.

Unknown Cambodian soldier

Fans of Seattle’s essential record label Sublime Frequencies may already be familiar with the sound of Cambodia’s music scene from the 1950s, ’60s and ’70s. The country’s music during that time was often a unique blend of Western-style rock and traditional Eastern singing styles. Sublime Frequencies gets a shout out in the credits of John Pirozzi’s documentary Don’t Think I’ve Forgotten: Cambodia’s Lost Rock & Roll, which tracks the country’s wild regime changes over those years and the concurrent development of their music.

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