看了評論褒貶不一，而且反差很大。
       我想，也許是因為Cobain厭惡媒體。但紀錄片多多少少也是一種媒體，有主觀性，且導演明顯做出了很多渲染。這兩者產(chǎn)生本質上的分歧，因此有粉極其厭惡導演的渲染手法。于我而言，我不想談論記不紀實，但我特愛導演的手法，實在入心，表現(xiàn)自己情緒之余還留給人判斷的空間。
       以前看過太多膜拜Cobain的文章和粉絲，已經(jīng)是神級單位了，因此其實對于他的作品一直缺乏仔細留意。這片偏偏是沖著生活奔去的，而且還注重感受，里面的動畫，配樂重新編配是花了心思去制作，前后的內容也是根據(jù)感情的邏輯貫穿電影。你能看到的是一個人如何成長，如何步入心理陰影，如何尋找出口，又如何因為某種情感缺失導致墮落，甚至喜怒無常。但就是由于如此明確才會導致外界更多的爭議，甚至被批得一文不值。
       但至少，我看到了非神級的觀點了，Cobain馬上變得立體了。忽然我非常妒忌他，因為他是個天才，但又害怕成為這種天才，因為他的天才有一部分來自于感情的缺失，缺乏成熟的思考。因此，他有清澈的眼眸，但卻頹敗的眼神。
      寫完，我又繼續(xù)去聽那張以為已經(jīng)聽膩的Nevermind了，它又有了光彩。

媒體稿，原載于Flux Magazine

http://www.fluxmagazine.com/montage-of-heck-film/

Despite it having been 21 years since his death, the topic of Nirvana’s front man Kurt Cobain has never lost its appeal.When talking about 1990s popular culture, he can’t be ignored and, even now, people are reminded of him whenever an artist dies young.

Last year, one of this generation’s most influential singers, Lana Del Rey, cited Kurt Cobain as her hero, and, in relation to this, stated “I wish I was dead already”. Although Cobain never lacked media attention, both before and after his death, many questions about his life remain unanswered.

Brett Morgen endeavours to answer some of the most intriguing of these questions in his new film Cobain: Montage of Heck. This is the first biopic of Cobain’s life made with full permission from the Cobain family. Morgen has access to never-seen-before home movies, behind the scenes footage of Nirvana’s performances and Cobain’s personal archive of art and tape recordings. He gives us Cobain in unprecedented detail: growing up from an angelic and sensitive little boy to a rebellious teenager, and then a world-famous rock star, heroin addict, loving father and suicidally depressed patient. However, instead of presenting a more human Kurt Cobain, Morgen’s materials accentuate the image we already have.

Part of Morgen’s difficulty lies in Cobain himself. Any biopic of a man who died at 27 will struggle to find evidence of depth and maturity; to add to this, even in his adult years, Cobain did not approach life in a grown-up way. Throughout, it is clear Cobain desperately needed love and attention. But his stepmother’s stories of his adolescence, including mentions of sibling bullying show how he acted in ways that made it hard for his family to accept him. In the latter half of the film, he is shown as a loving father but he is immature and struggles to look after his daughter while battling his heroine addiction. The film is problematic in that it presents Cobain’s inability to fulfill his adult responsibilities as part of his charm, rather than a personal failure, that he is a victim of his celebrity status, and any responsibility – including to care for his daughter – not his own.

Compared to a traditional documentary, Cobain: Montage of Heck is technically innovative. Animation is used to demonstrate the important moments of Cobain’s life: his unsuccessful first effort to have sex, his failed first suicide attempt as a teenager, the time he hid in his rented apartment, writing the music that later came to define the band. The best use of animation is when his doodles and hand-written notes are brought to life. Although all of Nirvana’s hits are played in the film, and footage of live performances are combined flawlessly with animations produced from his notebooks, Cobain’s music is unfortunately not explored further. Perhaps the biggest unanswered question–the source of his unusual musical talent–is barely mentioned, and the inspirations of his most successful songs are not discussed.

The interviews in Cobain: Montage of Heck are revealing in one sense and not revealing in another. Cobain’s mother Wendy O’Connor and his wife Courtney Love talk at length about his childhood and relationships. However, their accounts feel somehow like performances, and lack credibility, not telling us everything of their relationship with Cobain. However, there are some interviewees who do give more, but in their silences. For example, during his interview, Cobain’s father Donald Cobain looks sad and repressed. Sitting on the sofa, he sinks into near total silence and tries to hold back his tears. It is the most touching moment in the film and a pattern that holds in general: the women in Cobain’s life are prominent but exhibitionist, the men either missing or closed and silent. Cobain himself struggles to voice his emotions; he alone finds his voice in music.

If you are intrigued by Cobain as a spokesman of youth, a fighter against the boredom of reality and a musical genius longing to be understood, Kurt Cobain: Montage of Heck provides everything you might want, from his birth certificate to his first footprint. This documentary doesn’t complicate our image of Cobain; it simply emphasises it, giving us little further detail into his mind and life than what’s on the surface. People expecting to get a better understanding of this everlastingly popular icon might be left unsatisfied.