
PJ20
Without mixing any words, this was fucking amazing. Written, directed and narrated by musical journalist and film director Cameron Crowe (Singles, Almost Famous), PJ20 shows the evolution of the band from the beginnings with Green River and Mother Love Bone through Temple of the Dog and Mookie Blaylock and eventually coming out as Pearl Jam. Crowe incorporates so much outstanding archival footage in telling this story, that, even though the film commemorates the 20th Anniversary of Pearl Jam’s debut album Ten, there’s a feeling that Crowe has been making this documentary for well over 20 years.
I am continually Impressed by what great music fans the guys in the band are. And when you throw in other members of the Seattle sound into the mix (like Dave Grohl) it really makes you think about what a great musical city Seattle is. These guys always seem like fans who got into a band, made the decisions a fan would make (whether it’s in the songs or in decisions like breaking away from Ticketmaster in order to keep ticket prices down), and ended up getting huge. Despite their success, the guys always seem humbled by the attention they get and twenty years later still work with the idea that it could disappear at any moment. Perhaps that’s why the band works with an urgency which comes through in the music.
On a side note, the documentary made me want to punch Andy Rooney in the face. He makes some incredibly disparaging and ignorant comments about the teens of “the grunge generation” after Kurt Cobain’s suicide.
(via cherry-waves)
In addition to having an incredible encyclopedic knowledge of film and pop culture, he seems to always find just the right songs to use in his films. This is one of the songs which is most memorable and a song which, for me, has been eternally altered by its use in this film. There is absolutely no way I can ever hear this song again without thinking of this scene. Very few filmakers are able to achieve this. A few that immediately come to mind are Cameron Crowe’s use of Elton John’s “Tiny Dancer” in Almost Famous and Stanley Kubrick’s use of “Singing in the Rain” in A Clockwork Orange. I think when it’s all said and done, Tarantino will be remembered for numerous contributions to the world of film and one them them will undoubtedly be his selection of music.