Young@Heart Keeps on Ticking
One irritating fact of limited release movies in this Internet age is that you never know when a movie will come to a certain place. Movies come to Los Angeles, I write about them and I forget about them. Often I never know who else will have a chance to see them or when.
I wrote about the terrific little film Young @ Heart back on April 11 and then I kind of lost track of it. Of course it didn’t go away. It’s been making its way around the country and other bloggers have been writing about it as well, including some folks familiar to LiC readers.
It would be sad to let this one sneak by under the radar so check out what the others have said about it. Miranda Wilding reviewed it here; Daniel Getahun throws in his two cents here; MovieZeal’s Phillip Johnston rings in here; Matthew Lucas was moved here; and finally, K. Bowen isn’t quite as enthusiastic, but he still liked it and you can read what he wrote here.
So, don’t take my word for it, listen to your fellow bloggers and then check your local listings to see if it’s come to your neighborhood. You’ll be glad you did.
Filed under: Miscellaneous
Awww, Craig..
Thanks for linking to my review. I feel tremendously honoured that you’d think it was good enough to even be considered. I appreciate that very much.
Yeah, if anyone reading this reads my blog CINEMATIC PASSIONS (a lot or a little – or even if you DON’T) please seek out Young@Heart when it comes to your city. It’s a very warm, heartfelt experience but it’s not a bit cliched. I think everyone will relate to it.
So far, it’s one of the year’s best. But I’ll likely be saying that at year’s end as well. Everyone else that adored it will most definitely concur.
If it hits your home town, SEE IT. You don’t want to have regrets after the fact, do you?
This film deserves all the help it can get. It’s the single most moving film I have seen this year.
I will see it when I can :(
I’m almost sure you’ll really like it, Nicky.
Patience is a virtue, sweetie.
Not that I would know. I have all the patience of an eight year old on a precarious sugar high.
But this is what I hear…
Thanks, Craig. It was partly because of one of your first teaser posts on it that I made the extra effort to see it. Your review offers a great insight into the film’s lessons as well.
I don’t really know where the marketing is focused for this, though it definitely seems to be a hit with older crowds. My sense is that the MTV demographic is maybe not quite mature enough to really understand some of the deep significance of it, but maybe I’m not giving them enough credit. I know all teens aren’t as wise as Nick (which would be great), but anybody close to their grandparents will probably find it really moving.
Well Daniel, it was your recent review combined with Miranda’s earlier positive that made me think I should bring it up again, so we’re even.
To a point it seems like they’re selling the comic juxtaposition of old people singing modern music, and I have to admit that’s probably what drew me in in the first place. Of course once you see it you realize that’s just the tip of the iceberg.
Yeah, Craig first put this on the radar for me too. It was one of those things on my periphery that he put front and center. Took it awhile to open in my neck of the woods. It was still a good hour away from me…but hey, it was worth it.
I should’ve included Matthew’s terrific review in the orginal post. I’ve corrected my oversight.
http://fromthefrontrow.blogspot.com/2008/05/review-young-heart.html
No offense taken Craig. It was kind of a quickie…I wrote it late at night after pouring my heart into my review of “The Visitor” (that was an emotionally draining double feature, let me tell you), so I didn’t feel like I quite captured my feelings for it (the director still annoys the hell out of me though).
At first I thought you meant the director of the chorus, but I recall from the review you mean the movie’s director.
Luckily, the subject kind of transcends the filmmakers.
Yeah. There were a few times when I felt the chorus director was being a little too harsh with the chorus members, but it was the film’s director who really irked me. I felt like some of his questions were awkward, obvious, and at times cruel or invasive. But you’re right, the subject shined through his presence.
Hey – I AM the director of Young@Heart! Writing this late at night from London. It’s facsinating to see how a number of people in the States agree with you Matthew. I wonder if it’s a cultural thing? When the movie showed here in the UK, we had no such comments, but we had a terrific reaction in the national press and very sizeable audiences.
It does irk me though that some people out there think the film sort of made itself and then I came along and mucked it up with my irritating voiceover and inane questions. This was by far the most difficult shoot and edit I have ever had in sixteen years of making docs. It was an astonishingly difficult jigsaw puzzle to fit together out of over 100 hours of footage, not to mention the very real sensitivities within the story itself which we had to reflect as honourably and honestly as we could. For every step forwards we had several backwards.
We actually tested the film without comm at all and it left audiences bewildered and confused. Believe it or not, the comm is actually doing some very key work – helping make sense of the narrative which, oddly enough, is not neraly so clear when left to its own devices. We also triied a deliberately impersonal commentary – which ended up feeling like a news item, cold and over-detached. I felt that my presence was sufficiently in the film anyway – like it or not – simply through my questions, to warrant a slightly more personal commentary. The result is what you see.
It’s very easy to criticize, but what wouldn’t I give for the chance to bring every critic who has harped on about this one aspect of the film into the cuttting room and leave them to get on with it. Ask my wife and daughter – they barely saw me for six months.
But you know what? None of it matters – because the film and the chorus are striking audiences just as I was struck when I spent so much time with them. And that’s worth everything in the end. Because they are the most remarkable and wonderful bunch of people I have ever been privileged to meet.
Stephen Walker
Walker George Films
London
There were times it didn’t bother me…I just found some of the questions a bit…preordained, like we already knew the answers. And I’ve never been a big fan of narration anyway. It is a wonderful film though, and despite the issues I’ve mentioned I still love it. It definitely didn’t ruin the experience for me. I think I cried pretty solidly through the entire second half. So whatever I thought of the quibbles were minor in comparison to how the film affected me as a whole. It’s a remarkable film about a remarkable group of people that I have recommended wholeheartedly to everyone I know.
As you can see Mr. Walker, you’ve stumbled upon a pocket of enthusiasm for your film. Whether people remember the exceptional story itself or your treatment of it or both, they’re still remembering it.
No matter what anyone says, it’s safe to say you did something right.
Assuming that’s really you (I haven’t confirmed it yet) I’m pleased that you stopped by and took the time to comment.
Congratulations on a wonderful film.
Whether it’s him or not, congrats should be in order even if they just exist in space. Matthew brought up the same valid point in my review, but only now have I made the separation in my mind between the narration and the interviews.
The interviews were great, I thought, because they were natural discussions in natural settings. Mr. Walker didn’t sit the interviewees down and mic them up, he just filmed himself talking to them as they were driving, shaving, sitting around, standing outside, etc. That the questions weren’t deeply probing was fine by me – I think their answers were the important part, such as Eileen’s rainbow statement and Joe’s talk of the timing of death.
The narration didn’t bother me at all, but I did find myself occasionally jolted by Mr. Walker’s accent. Still, I would have much rather had his cheerful commentary than just some text on the screen telling us the vitals. This is more of a matter of preference, though. As we all agree, nothing can take away from the power of the music and the film’s subjects.
Well, Craig, I did like the film. :)
There were a couple of questions that I would have liked answered that remained unspoken. I felt that the level of reflection about mortality didn’t quite get to the depth that it could have, not quite beyond that “I loved him, but the show must go on” level. I really wanted someone to ask Cilman something along these lines …. what is like to invest in so many people over so many years, when you know eventually they are going to leave you? Not to mention … what does it feel like for you to be getting to that age, and how does that change your perspective on what your singers are accomplishing?
That said, the film is so infectious that those are minor things. It’s a beautiful celebration of life being lived to the very last drop. I’m glad our visitor made a movie about it.
As far as narration. It’s a little jarring at first, compared to other narrations, but I like its bemused personal nature.
Thanks everybody for these comments. I have in fact answered Craig’s email to me so there’s no doubt it really is me writing! (My daughter thought that was really funny!)
I’ve found what everybody says very illuminating. The film has had such a terrific response in both reviews and blogs (not to mention audience reaction when Fox Searchlight took us on a gruelling 4-week, 18-city tour in April!) – but the issue of commentary/questions does rear its head from time to time and obviously it’s a substantial concern for some. It’s very distressing for a director because of course you want the experience of watching the film to be perfect! But it’s been helpful seeing reactions in this blog – illuminating a concern which has bugged me and my producer (not to mention my brilliant editor Chris King).
Incidentally, to answer the last question – I too would have loved to get more from Bob Cilman about his past/motivations etc. I must have asked him on at least 20 separate occasions, but he is an intensely private man and I got nothing really solid. It is an obvious flaw in the film, and one we really tried to address, but come see the rushes – it’s just not there!
Thanks again for the lovely comments. It means a great deal. I did lots of q &a’s both at Sundance and on the tour and I loved doing them because you touch base with the very audience you’re trying to reach. This feels the same. So thank you.
Best to all,
Stephen Walker
Stephen,
I’m glad to hear that you were trying to ask those questions. I’m guessing that’s an occupational hazard of documentary filmmaking – sometimes reality doesn’t fully cooperate, and it’s just not there. Thank you for providing me with two hours (or so) of genuine enjoyment. It’s a rare treat nowadays. I look forward to your next project. .
I think Mr. Cilman’s hesitancy to inject himself into the story actually worked quite well. Though I was deeply curious about what made this guy tick, it almost would’ve been too neat and easy and it also gets away from the core spirit of the film which is these senior citizens squeezing every last drop of juice out of their lives instead of surrendering quietly to age. It should be about them and not Cilman.
Also, some of the joyful expressions on his face, or the sad ones, pretty much told me everything I needed to know about the guy.
Thanks again to Mr. Walker for dropping by. It’s nice to see the pride and enthusiasm you have for your film and I hope everyone reading this grabs a loved one and drags them to the theater to see it.
What I found most interesting about Cilman is that by my math, he must have been 27 or 28 when he started directing the group. We know that Y@H evolved over the years, but I would have liked to have a little more background on how that happened and why. Like you say, KB, Cilman is a fascinating character, but like you say, Craig, too much focus on him may have elbowed out other important footage.
Also, I just wanted to say, Craig, that I think Stephen Walker’s visit here speaks volumes about LiC’s growing reputation as one of the best movie blogs around. Not that we don’t all already know this. International readers and engaging, never inflammatory discussion, all evenly directed by somebody who’s truly passionate about the best aspects of film. The LiC tagline says it all.
That Mr. Walker found his way here and felt comfortable engaging with moviegoers in a thoughtful discussion of his work is pretty remarkable. If it’s a sign of things to come, we’re all in for a real treat.
I agree, Daniel. It was really neat reading this. LiC continues to grow.
Actually Bob’s story is very interesting (once you manage to prize it out of him). He formed the chorus at the age of 29 in 1982 when he was working at a meal site for the elderly in Northampton. He got together the residents for a sing-song and they performed old numbers for several years for local audiences. The generation he was dealing with were often WW1 veterans. Not one of them is now alive – in fact, Bob has attended over 70 funerals since he began the group.
The rock stuff only started much later – in the late 80s in fact . Their first tour to Europe was in 1997 I think, and it was a stunning success. Ironically, though they are quite well known over here (which is how I first encountered them back in October 2005 in London), they were not – until the film came out – known at all in the US.
As for Bob himself, he has hinted at having amazing grandparents – especially a grandmother who managed to be both a radical socialist and a boxing enthusiast! In this respect, we share a common background (not the boxing but the characters!), which is why I was so drawn to the chorus when I first saw them.
Craig has mentioned something via email about an online q and a which I’m very happy to do. If you want to know more about us, check out our webpage at http://www.walkergeorgefilms.co.uk (soon to be updated to a full-on website). You can find out more about the chorus at http://www.youngatheartchorus.com.
Thanks for the comments, to one and all. Directors ignore feedback at their peril! It’s really touching to me, and to the chorus members themselves to see it (many of them, believe it or not, are avid internet users – espcially Fred, who hourly checks the numbers on his Fix You Youtube clip!). The general blog activity on the movie has been amazing. I still pinch myself when I see how the film continues to hold up its per screen averages week by week (number four yesterday, with Iron Man – inevitably – at the summit!). We expand to 168 theaters this weekend, and up to 180 – 200 next weekend. Tell your friends to go!
Best wishes,
Stephen
Daniel and Alexander. I’d love to believe Mr. Walker’s visit was more than just a happy accident…So I will! LiC is one step closer to owning the Internet! (kidding)
I’ve linked to several of the clips of the chorus singing, but I’ve sort of steered clear of linking to Fred Knittle’s show stopping performance because it indirectly spoils a key dramatic moment in the film, in my opinion.
Perhaps I’m being too careful. If you don’t care about spoilers you can see it here:
http://www.youtube.com/watch?v=2u6k-99qcCE
Well tell Fred his rendition of “Fix You” moved me to tears more than any fiction film has this year. Beautiful stuff all the way around.
That is a great moment.
Almost didn’t happen because the miniDV jammed in my Z1 just as I started filming from the orchestral pit. Eddie Marritz., my DoP, moved in like lightning to cover from the stage. We bridged the gaps with audience reactions from a third camera, but it was a close thing!
That would’ve been a disaster. Not only is it the most moving part of the film, one of the major arcs feeds directly into it.
Wow, interesting conversation. Curious that I wasn’t hampered by the same issues other commentors here were, but I can see what they are individually getting at. I agree that Climan is an interesting character and he would have proved a stronger backbone to the story if he were a bit more forthcoming, but I filled in the blanks to his back story fairly accurately based on the narrative and the few details we’re given (according to Mr Walker’s comments). I think focusing all the attention possible on the choir and their performances works great.
I liked the narration, which bridges some of the gaps that would occur naturally in a doc like this. In fact, I don’t see how the film would work without the narration.
I have paternal grandparents that are 91 and 92 (my grandmother’s birthday was last week and my grandfather hits 93 next month). They’ve been married 67 years now and I was reminded of them watching Young@Heart, two people who refuse to let life be taken away from them by old age. My grandmother has become increasingly morbid as her friends and family members have passed away around her, but neither of them would have much to offer on death itself. In fact, they would both tell you that “the show must go on” when a loved one dies. When you get to that age, death becomes a constant companion as folks around you pass on. I think they quickly learned to accept it and live day to day rather than dwell on it or offer some philosophical response to it.
So my point is, the doc does a great job of honoring the deceased and offering some poignant moments in memory of them, but it doesn’t dwell on it any more than the Young@Heart choir does. That is probably the most fitting way to pay tribute to those that passed on and those that are still here.
Excellent documentary. I definitely enjoyed every minute of it.
That was one of the interesting things about the movie for me Joel was how the chorus responded to death. I was actually a little shocked at first that it didn’t hit them harder. In retrospect I realized that they’re no strangers to death and also, their whole attitude is one of living as much as you can until the end finally comes. They’re not in denial about death, but they don’t dwell on it either, even as it looms rather large.