Joe Strummer, how I adored you. Your latest bio-documentary (besides RUDE BOY) is really impressive in its use of the medium of film and what it conveys about an artist who went through several incarnations until his early death at age 50. I remember hearing the news and thinking, "Oh, he's turned fifty--too hard to handle, I wonder." But no, although he met death when identifying his suicidal brother's teenage body, he never stopped talking about how being alive was what we all had in common. He died of a heart defect that had gone undiagnosed.
The film's documents the early life of John Mellor (Joe's given name by his diplomat father and Scottish mother) and how, after his brother's death, he continued on to be what he called a non-stop-talking "git." This git got bad grade except in Art. He could draw. Joe's drawings are interwoven in the film's rich fabric.
Pictures, people who knew him, music, all embellish this tale by the fire, as it were. One of Joe's last drawings was of little islands in a river, each with a fire that one sits by and talks. Many of the people who knew him well sit by these fires in different parts of the world. There are no subtitles identifying the interviewed. The members of his bands, The One-on-One-ers, The Clash, and Joe Strummers and Los Mescaleros needed no titles.
The exploration into his film work both as musician and actor are new. I remember the ...Hell film. One of my housemates was watching it on a summer afternoon in the living room. Usually, I didn't go into the living room, but I was drawn in by Joe's presence in the film. I was drawn into the Red Victorian today to see Joe again onscreen. Although I cried at times and at times didn't understand why he said and did things in this life, I will go back and see this film again.
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