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I really do wonder just how much Scorsese actively contributes to his various co-directed docs. (He and Tedeschi previously collaborated on The 50 Year Argument; there's also A Letter to Elia, with Kent Jones. But even something like the George Harrison one, which has only Scorsese's name on it, seems likely to have been largely assembled by others. The man is busy.) Structurally, this portrait of David Johansen appeals to me—the archival footage and the contemporary interviews (conducted and shot by his stepdaughter, so don't expect anything revelatory) are studded throughout Johansen's January 2020 show at the Café Carlyle, featuring the goofy conceit "Buster Poindexter sings David Johansen." Comes across less expository than does your average music doc, though we're still getting pretty much a complete history, including such details as Morrissey having been president of the New York Dolls' English fan club. Best of all—in theory, at least—Scorsese and Tedeschi (and here I think Scorsese does deserve credit) virtually never interrupt the songs à la Summer of Soul...and on the rare occasions when they do, it's to juxtapose Johansen now with Johansen performing the same song decades earlier. Unfortunately (from my perspective, anyway), fully half of the set list for this show consists of tracks from the Dolls' 2006–2011 reunion albums, which I submit, admittedly solely on the basis of their lounge-lizard-esque representation here, are just not all that great. To my shame, I'm unfamiliar with Johansen's early solo work (i.e. between the Dolls and Buster; he adopted the latter persona when I was 19, showcasing it for a while on Saturday Night Live, so I'm very familiar with that), but I still perked right up for "Funky but Chic" and "Melody," which kick things off, and registered a comparative diminution of inspiration thereafter. As much as I admire the man and his relentless, sometimes genderqueer re-invention (it'd be easy to fashion something along the lines of Moonage Daydream for him), Personality Crisis lovingly memorializes one of his less creatively fertile periods. 

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Comments

Anonymous

I interned for Scorsese's production company in college circa 2019-20, saw a bit of the behind the scenes on this one plus the Fran Lebowitz miniseries they did for Netflix, can confirm that David is the main creative force behind these docs.

Anonymous

Not sure if this is the right place to ask (or suggest), but I was wondering if it would be possible to read what you think about TV shows in a similar review format. I would love to read what you think about Succession, for instance. I'm pretty sure many would love to read that as well.

gemko

I’ve considered that as a possible incentive for the $5 tier. The difficulty is that I don’t watch even wildly acclaimed shows right away—with <i>Succession</i>, for example, I didn’t start watching until season two had long ended. And while that’s not an issue with movies, I think reading episode-by-episode reactions months or years after the fact would be less than satisfying. I guess I could write now about <i>Succession</i> as a whole, but it’s tough for me to say anything worthwhile if I took no notes.

Anonymous

I, too, knew nothing of his David Johansen Band era and was pretty shocked when he said they were doing something like 200 dates a year in the late 70s? (Watched this the day it came out, so if it wasn't that, it was a number much bigger than I expected to hear.) Always wondered how he made money beyond "Hotx3" over the last decades. I guess the reunion money must have been good. Seems like he was always close to breaking big but was doing the right stuff at the wrong time. His Sirius show is great, though occasionally repetitive which seems unnecessary considering the vast well of his musical taste. I'm glad this movie exists.