quinta-feira, 8 de novembro de 2012


Chapter 9: Movies and documentaries


THE SOUL OF A MAN ("Soul of a Man")

In The Soul of a Man, filmmaker Wim Wenders examines the dramatic tension of Blues, between the sacred and the profane, to explore the life and music of three of your favorite artists of Blues: Skip James, Blind Willie Johnson and JB Lenoir.
With a share of historical and other personal pilgrimage, the film tells the story of these lives music, through an extensive sequence of fiction, a rare archive pictures, documentaries and current reproduction of their songs by contemporary artists such as: Shemekia Copeland, Garland Jeffreys, Nick Cave, Los Lobos, Eagle-Eye Cherry, Vernon Reid, James Blood Ulmer, Lou Red, Bonnie Raitt, Marc Ribot, The Jon Spencer Blues Explosion, Lucinda Williams and T Bone Burnett.
Wender explains: "These songs have great meaning to me. I feel that there is more truth in any of them than in any book I read about America, or any movie you've seen. Tried to describe, more like a poem that as a documentary, what struck me most in their songs and voices”

THE WAY OF MEMPHIS ("Road to Memphis")

The Filmmaker Richard Pearce traces the musical odyssey of the great legend of Blues, BB King, a film that is a tribute to the birthplace of a new style of Blues. Pearce also leads us down the road to the backstage of Blues, with veterans of Memphis, Bobby Rush and Rosco Gordon. A tribute to the Memphis Pearce presents original performances by BB King, Bobby Rush, Rosco Gordon, Ike Turner, Rev. Gatemouth Moore and Little Milton, and includes a sequence of archival footage of Howlin 'Wolf, BB King, Rufus Thomas, Little Richard, Fats Domino, The Coasters, among others.
Pearce explains: "The Blues are a chance to celebrate one of the most primitive forms of American art before everything disappears absorbed in their entirety, by the generation of Rock 'n' Roll. Luckily we arrived before it was too late."

HEATED BY THE DEVIL'S FIRE ("Warming by the Devil's Fire")

Charles Burnett explores his own past as a young man who moves from one side to the other, between Los Angeles and Mississippi, swinging between an uncle who loves the Blues and a mother who believes the Blues music of the devil. Burnett's film makes a bold mixture of imaginary histories with documentary images of a host of legends of Blues, a story about the reunion of a young man with his family in Mississippi in 1955, dramatizing the tensions between the gospel and spiritual trend the diabolical lamentations of Blues.
Burnett explains: "The sound of the Blues was a part of my environment, I accepted as true. Nevertheless, over the years, the

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