Schnabel is not exactly the ideal interpreter of Lou Reed’s Berlin-years anguish. And the Berlin songs themselves don’t transport one into that experience so much as convey a once-novel attitude.
Lou Reed's Berlin (2008)
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Reviews Counted:31
Fresh:24
Rotten:7
Average Rating:6.4/10
Consensus: Julian Schnabel expertly captures the dark melancholy of Lou Reed's misunderstood concept album in this moving concert documentary.
Theatrical Release:Jul 18, 2008 Limited
Synopsis: The curious tale of Lou Reed's 1973 album, BERLIN, is worthy of a documentary in itself. Its trajectory from critical and commercial failure to one of the most highly regarded records in his canon... The curious tale of Lou Reed's 1973 album, BERLIN, is worthy of a documentary in itself. Its trajectory from critical and commercial failure to one of the most highly regarded records in his canon has vindicated Reed's vision for the album. This concert film was shot 33 years after the former Velvet Underground frontman unleashed BERLIN on the world. A remarkable critical volte-face has occurred in the intervening years, although Reed has rarely performed material from the album. Director Julian Schnabel (THE DIVING BELL AND THE BUTTERFLY) headed to St. Ann's Warehouse in Brooklyn, New York, at the tail end of 2006 to shoot this document of BERLIN's live resurrection. The film is culled from a five-night stint at the venue in which Reed, and a host of guest performers, brought the album back to life. Schnabel's movie is no ordinary concert film. The director designed the sets Reed and his band perform on, and his daughter, Lola, shot footage that brings to life the album's central character, Caroline. Schnabel has talked openly about the huge influence BERLIN has had on his work, and he clearly has a great deal of reverence for Reed as an artist. The film is shot mostly with shaky handheld cameras that provide a satisfying replication of the concert-going experience. Cinematographer Ellen Kuras (ETERNAL SUNSHINE OF THE SPOTLESS MIND) deserves credit for turning a relatively straightforward concert film into a visually stimulating affair, and actor Emmanuelle Seigner, who plays Caroline, perfectly captures the character. But it's the combination of Reed's music and Schnabel's vision that makes LOU REED'S BERLIN such a gratifying audiovisual experience. [More]
Starring: Lou Reed, Antony, Sharon Jones, Emmanuelle Seigner
Starring: Lou Reed, Antony, Sharon Jones, Emmanuelle Seigner
Director: Julian Schnabel
Director: Julian Schnabel
Producer: Jon Kilik, Tom Sarig
Composer: Lou Reed
Studio: Third Rail
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Reviews for Lou Reed's Berlin
Reed, who's looking more and more like a Bond villain, comes close to smiling at one point, although the chances are you won't.
An intimate venue coupled with incredibly energetic and heart-felt performances from Reed, the Brooklyn Youth Chorus and a string and brass section to die for make for a moving experience.
It's Reed's gruff and tuneless delivery that challenges one's enjoyment.
It's direly beautiful, sometimes spine-tingling and, yes, gloomy as purgatory.
Schnabel and Kuras know their subject enough to know how to frame him: with space, darkness, and unyielding cool.
Once again a concert documentary allows those of us unable to have witnessed a monumental event to see it seemingly exactly as it took place.
The indulgent might term it "introspective," but a baleful, empty narcissism is the major affect one feels.
Those who admire Reed will find that Schnabel's film allows the music to speak for itself against its rather messy background.
Performed live, the haunting material finds new life ... Schnabel has created an incredibly artistic experience out of the concert with many moments that will give you goosebumps.
Who could have guessed that nearly 35 years after its release, Lou Reed's once-reviled concept album Berlin would inspire a sold-out concert, shot with loving awe by Julian Schnabel?
Excellent concert docu revisits a neglected chapter in Reed's back catalog.
Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.
One of the nice things about Schnabel's film is the way it transmits the energy of one of those concerts where everything comes together. Even impassive, stern Lou himself is wearing a huge smile on his face by the end.
Schnabel's set design, onstage projections, and postproduction add a good deal of visual noise to Reed & company's aural variety, which reproduces the album with a mixture of professional exactitude and unpredictable cacophony.
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