‘Doll’ Rockumentary has heart, lacks cynicism
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The Sundance Film Festival Grand Jury Prize winner last year, “New York Doll,” has finally arrived in Logan at the Art Cinema.
“Doll” is a documentary about Arthur “Killer” Kane, a stoic, gentle rock ‘n roll star who, due to alcohol and substance abuse, literally hits rock bottom. Surprisingly, he then finds a new life – converting to Mormonism and even working in the church’s genealogical library. The story really gets interesting, however, when Arthur is invited to a concert in London where the (remaining) New York Dolls will be reunited for one last concert.
This is a fish out of water story times two. Kane doesn’t quite fit the traditional mold of either Mormon or rock star. As his life becomes the mesh of polar opposite lifestyles, Kane handles himself with endearing childlike charm. But just as engaging is the story of his abilities. Can he, after 30 years of no playing, hold his own at a gig in London? Will his strained relationship with bandmate David Johansen worsen? Will re-exposure to his old lifestyle cause temptation? The film provides answers to these questions and ends with surprising closure.
BYU alumni Greg Whitely is the director and co-editor of the film. He simply made an intriguing, concise film that’s worth watching. Scenes easily mix serious issues (death, alcoholism) with delightful humor (Kane’s banter and fashion choices). Also interesting to watch is the film’s animated elaboration on Reebee Garofalo’s famous “Geneology of Pop/Rock Music” chart (see “reebee.net”). The filmmakers did their homework here, and the hard core rock fan, as well as us lay folks, will be satisfied.
“Doll” also feels fresh and original because of the subject matter. Many similar “Rockumentaries,” as they have been coined, have generally been depressing in the past. The Rolling Stones’ “Gimme Shelter,” and The Band’s “The Last Waltz” both portray the rock and roll lifestyle as very sad in the end. “Waltz” band members talk repugnantly of life on the road, and their last performance feels weathered and tired. “Doll” shares the sentiment, but is set apart by focusing on a silver lining – a protagonist who made a principled lifestyle change. “People who’ve really been in the war, but then come out the other end as, for lack of a better word, spiritual beings – that’s the greatest kind of person in the world,” compliments band mate David Johansen.
The funny thing is, this film seems unique in part because of popular “mockumentaries.” While watching I couldn’t help but expect Kane and his rock ‘n roll buddies to be treated with cutting parody. Christopher Guest’s films (“This is Spinal Tap,” “A Mighty Wind”), funny as they are, don’t treat their subjects with much respect or direct affection. “Doll” does, and it felt good to take a break from the cynicism – if only for about an hour.
Chris Blakesley is a film critic for the Utah Statesman. Comments can be sent to “cblakes@cc.usu.edu”