As a longtime devotee of Pavement and their enigmatic frontman Stephen Malkmus, I can confidently say that “Pavements” is a love letter to the band that only a true fan could truly appreciate. Alex Ross Perry’s exhaustive exploration of the beloved ’90s alt-rock group feels like an inside joke about a band that always had a strong undercurrent of irony, whether about themselves or the music business.
As a fellow enthusiast, I can vouch that even without being a die-hard Pavement fan or sharing the same level of admiration for director Alex Ross Perry, you can still appreciate his passionate and extensive tribute to the iconic ’90s alt-rock band. Yet, if you’re already a fan like me, your enjoyment will be amplified
This intricate film blends elements of a documentary, musical comedy, mock biopic, and actual museum exhibit. It endeavors to encapsulate the essence of an adored yet not overly famous indie band, incorporating a wide array of components such as memorabilia from Lollapalooza 1995, old, mud-stained t-shirts included — almost everything except for the kitchen sink
Despite the abundance of both vintage and contemporary footage, scripted and spontaneous clips, interspersed and edited in various ways, “Pavements” often appears to be preaching to the converted rather than attempting to attract new fans or persuade them. It’s a heartfelt but somewhat self-absorbed inside joke about a band that was always characterized by a deep vein of irony, whether regarding themselves or the music industry. Eventually, the film becomes part of the Pavement legend itself
If that was the goal of Perry, who previously explored the alternative rock scene in his blistering portrait of a female singer, Her Smell, then he’s gone above and beyond what most filmmakers would do to depict their favorite band on screen.
Apart from meticulously recording the group’s numerous weeks of rehearsals before their successful and ongoing 2022 reunion tour, he also pens an off-Broadway musical titled “Slanted! Enchanted!” where Pavement’s most popular songs are reimagined as captivating stage performances by a group of committed New York actors
After that, he begins to lead a real biographical film – more of a humorous take on “Bohemian Rhapsody” than an Alex Ross Perry-style movie. This production features genuine Hollywood casting, with Jason Schwartzman (known for his role in the director’s “Listen Up Philip”) and Joe Keery from “Stranger Things,” who portrays Pavement’s sharp and confrontational frontman, Stephen Malkmus
Intriguing instances in the movie show Keery attempting to capture Malkmus’ spirit, going so far as to photograph his tongue for studying its contour, in an attempt to perfect his suburban California accent. These scenes offer intrigue about Perry’s actor-director collaboration, rather than revealing much about Malkmus himself, who was typically reserved offstage and on the page, except when composing songs or performing live
Without a doubt, there’s an enigmatic quality about Stephen Malkmus, Pavement’s charismatic frontman, that has kept fans captivated throughout the years. Unlike contemporaries like Kurt Cobain from Nirvana or Billy Corgan from The Smashing Pumpkins, who were more open to media attention, Malkmus and his band preferred to keep a low profile. They primarily focused on creating music and having a good time, disregarding the rest of the spotlight
In a manner reminiscent of Pavement’s style, Perry refrains from the conventional narrative approach often seen in VH1’s Behind the Music. Instead, there are no rock critics, pop culture analysts, or music industry executives to dissect the factors that contributed to the band being highly respected during their time. However, it is noted that each of their first three albums (Slanted and Enchanted, Crooked Rain, Crooked Rain, and Wowee Zowee) are included on Rolling Stone’s list of 500 Greatest Albums of All Time
This relatively unknown band achieved an impressive milestone, surprising many with their success despite not being widely recognized beforehand. Their one hit single, “Cut Your Hair,” reached the top of the alternative charts in 1994. However, instead of basking in the glory of musical stardom, Malkmus chose to mock it in this song. He sarcastically repeated the word “career” throughout the final verse, as if to permanently dismiss any association with it
Following that point, Pavement didn’t experience a surge in popularity as one might expect. Their third album failed to produce any major hits, although it is now appreciated by fans. Critical reception at the time was less than favorable. To add to their struggles, their performance at Lollapalooza ’95 was disastrous. During one show, they chose to leave the stage after being bombarded with mud by an enraged mosh pit
Perry recounts crucial events by using either archived footage or scenes reenacted for his upcoming biopic (titled “Range Life“, reminiscent of the Pavement song), and frequently contrasts past and present using split-screen or multiple screen formats (skilfully edited by his frequent collaborator, Robert Greene). Moreover, real or fabricated artifacts from the band’s history are exhibited in a New York gallery show called “Pavements” – to add to this, various younger bands perform Pavement covers at the opening
The movie is packed with so much content, it feels overwhelming at times. Instead of presenting the material thoughtfully, the filmmaker often seems to overwhelm us with information, leading to feelings of exhaustion after two hours. While there’s a case to be made that an ideal Pavement film would capture a full concert performance, Perry fails to let any single song run its course. His style is that of a passionate and thorough collector, and he effectively communicates the fervor of a dedicated fan. However, he doesn’t quite manage to make this enthusiasm infectious enough
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2024-09-04 18:40