The Sparks Brothers (2021)
The Sparks Brothers
”Discover the inspiring legacy of two brothers, Ron and Russell Mael, who formed a cult band that influenced generations of artists.”
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Why watch this film?
The American musical group Sparks exists simultaneously in two seemingly opposite circumstances: on the one hand, it is a cult band with an extremely niche audience; on the other, it is absolutely influential, and has inspired generations of artists such as New Order, The Smiths and Björk (among many, many others) over five decades. 'The Sparks Brothers' is a documentary that traces the long history of the band formed by brothers Ron and Russell Mael, exploring the ironies, highs and lows of this journey. With the incredible visual inventiveness and sense of humor of its director, Edgar Wright ('Last Night in Soho'), this film uses a range of different resources, such as stop motion animation, collage and archival footage, to mix them with testimonies from musicians like Giorgio Moroder, Jane Wiedlin and Beck, exploring the legacy of the band in a way that will satisfy both die-hard fans and those who know nothing about Sparks.
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Plot summary
How can one rock band be successful, underrated, hugely influential, and criminally overlooked all at the same time? Take a musical odyssey through five weird and wonderful decades with brothers Ron and Russell Mael, celebrating the inspiring legacy of Sparks: your favorite band's favorite band.
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From the same director
Shaun of the Dead
'Shaun of the Dead' is the second movie by Edgar Wright (director of 'Scott Pilgrim Against the World') and a significant milestone in his career. It was his first movie to become popular among a large audience, the first movie of the famous and sensational Cornetto trilogy, and the first partnership between him, Simon Pegg and Nick Frost, which he repeated several times afterwards. The movie became popular and earned a place in the imagination of geek culture due to its theme and skill with the genre, becoming a current classic of zombie films. It's no wonder, 'Shaun of the Dead' plays very well with the mix of comedy and horror, has brilliant visual jokes and a dynamic and intelligent editing. Edgar Wright is a visual comedian, and this movie was a laboratory for his experiments.
Baby Driver
A movie that takes a common premise in the seventh art - the classic story of a mute driver trying to escape the claws of crime - and builds a unique visual and narrative style, characteristic of the virtuoso director Edgar Wright. Each frame holds various elements that enrich the story, and the synchronization of scene editing and a diverse and exciting soundtrack creates an unmatched rhythm, allowing the film to "slide" into your mind and heart. Featuring memorable performances by Ansel Elgort, Jon Hamm and Kevin Spacey.
Scott Pilgrim vs. The World
Edgar Wright ('Baby Driver') adapts Bryan Lee O'Malley's comics with all the adolescent energy and game-inspired enthusiasm of the original material. The result is an engaging, fun, and charismatic teen movie about a young man (played by Michael Cera) who wants to win the heart of his beloved Ramona (Mary Elizabeth Winstead), but must defeat all her exes (and ex-girlfriends) to do so. The visuals are exciting and there are many references to pop culture.
Last Night in Soho
If 'Baby Driver' signified Edgar Wright's maturation as a director, 'Last Night in Soho' sees this style consolidated in service of a co-written screenplay by him and Krysty Wilson-Cairns ('1917') - which, though not perfect, is the most interesting in his filmography to date. The plot follows Ellie (Thomasin McKenzie), a young woman who moves to London to fulfill her dream of becoming a fashion designer. Every night, inexplicably, she has vivid dreams in which she is transported back to the 1960s - her favorite era - and lives as Sandie (Anya Taylor-Joy), a young woman aspiring to be a singer - although her story gradually becomes darker, gradually invading Ellie's reality. This is a psychological thriller that combines influences from the stylized giallos of the 1960s, such as Roman Polanski's 'Repulsion', as well as visual nods to Dario Argento's 'Suspiria'. On the other hand, it also weaves a critique of the idealized filter with which we all - the audience and the director himself - usually look at the "good old days". Perhaps, Wright and Wilson-Cairns propose, those were not such good times and the dream images hide a story of violence and abuse. The final reveal and the denouement will divide opinions and ignite debate in this context, but 'Last Night in Soho' is a type of film increasingly rare, which manages to keep the recognizable mark of a director, offers a social commentary that inspires discussions and entertains as a good blockbuster, all at the same time.
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