Rockumentaries tend to have a habit of diluting the truth, and
excentuating the myths of Rock 'n' Roll. And while that makes for good
viewing and daydreaming, it is very rare that you will see the reality
behind the bravado. But in the world of 70's Punk/Glam outfit The New
York Dolls - things are all to real 30 years on, making for one of the
best bits of cinema you will see for a long time to come. Unlike recent hits Metalica - Some Kind of Monster or The Beatles - Let It Be
which are essentially extended adverts by record companies (as well as
a fascinating look at the the deconstruction of a great band right
before your eyes), the 2006 Sundance selected film New York Doll goes in the opposite direction. Almost 30 years after the glam, 30 years after the drugs, 30 years after the fame and egos - New York Doll is a riveting, and often heartbreaking, deconstruction of a myth. It's
a captivating story of the rise, fall and resurrection of the seminal
rock band, the New York Dolls. A 1970's band which self imploded before
they began thanks to booze and heroin (which was responsible for the
deaths of two of the original Dolls). But as the title suggests, it is
really a portrait of one man, New York Dolls bass player Arthur
'Killer' Kane. As opposed to the rather routine idea of
exploiting the two years of the bands existence - with a quick and
meaningless epilogue "Billy The Rock Star is now a producer", New York Doll
documents Kane's life from where he is now. A fallen middle aged idol
turned Mormon, who rides the bus on his way to his low paying job at a
library. It fleetingly brushes past the mythology of rock (Kane's
falling in and out of fame, recovering from alcohol and drug addiction,
depression and suicide attempts) but concentrates on the now and Kane's
pitiful fall from grace, with the unattainable dream of reuniting with
his band. Director Greg Whitely picks up Kane's story in 2004, by
which time he is working in the genealogy library at his local Morman
temple (keep an eye out for the adorable elderly ladies who work with
him). If God was the first Saviour of Arthur's life, Smiths
legend Morrissey is the second coming, as he gets behind a Dolls
reunion for London's Meltdown Festival. I must admit, I didn't
expect much from this. I've never been a huge fan of the Dolls (some
may remember lead singer David Johansen as the grubby cabby from the
Bill Murray flick Scrooged) and expected little more than a half baked E! True Hollywood Story. But to my absolute delight, New York Doll
is touching, grindingly real and a unique look at the human mind. You
will feel pity, empathy and eventual jubilation for Kane as we follow
his journey back to the stage. Honestly, it's so hard to describe. It's
just one of those stories so incredible that even the most creative of
screenwriters could have envisioned anything better or so bittersweet. Things don't turn out the way you expect, which is the touching charm
of the film. And you can't help but think that the God that saved Kane
20 years earlier has a role to play in the heartbreaking end of the
story of Arthur "Killer" Kane. Recently
screened to acclaim during the 2005 Melbourne International Film
Festival and nominated for the Grand Jury Documentary Prize at the 2005
Sundance Film Festival, this is a must watch - not simply music lovers
- but for lovers of film. Worthy of a standing ovation. EXTRASThis
is quite a good package. with interviews with director Greg Whitely,
Morrissey (parts of which appear throughout the doco - along with
chats to Bob Geldof) as well as the touching and somewhat somber
rendition of a mormon hymn by Dolls lead singer David Johansen. Conclusion:
Movie 90% Extras: 65% 
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