DID YOU READ

Tim Grierson on Jonathan Demme’s terrific Neil Young documentaries

Neil Young in Heart of Gold

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In 2005, we almost lost Neil Young. Diagnosed with a brain aneurysm, the then-59-year-old songwriter went in for surgery, which was successful, but a few days later he collapsed in the street due to complications from the procedure. (He had to be revived by emergency personnel.) In interviews, Young tended to downplay the severity of what happened, but for anyone who’s loved his music, it was an alarming reminder that one of rock’s most prolific artists someday was going to stop producing new music.

Whether as a solo artist or with one of his side bands, Young has put out a new studio album or a live disc just about every year since 1966. But while many of them have been terrific, Young’s legacy isn’t defined just by the quality of his work but by the endless restlessness of his muse. Young’s health scare has prompted a lot of fans to appreciate him while he’s still around. Even better, it’s inspired director Jonathan Demme to produce three terrific Neil Young concert documentaries in the last six years that sum up his artistic importance as neatly as any biography could. The third installment opens on Friday. Even if you’ve seen the other two — especially if you’ve seen the other two — this one is a must.

It’s called “Neil Young Journeys,” and it’s superficially similar in format to the first two editions. 2006’s largely acoustic “Neil Young: Heart of Gold” and 2010’s mostly electric “Neil Young Trunk Show” focused on Young the performer, and while “Neil Young Journeys” does as well, there’s a healthy serving of Young off the stage, as he drives around his small Canadian hometown reminiscing about his youth. It’s not as if Young delivers devastating insights into his creative process during these drives, but they’re nonetheless incredibly valuable because they help paint a portrait of this somewhat loopy, entirely enjoyable oddball who seems to do everything with the same scruffy nonchalance. Like his music, the interviews are deceptively candid yet contain mysteries into the deeper meanings behind his plainspoken language.

But as with the earlier films, “Journeys” is chiefly about the music, and it’s a constant wonder. Each documentary has been built around a tour for a particular album — “Prairie Wind” in “Heart of Gold,” “Chrome Dreams II” in “Trunk Show,” “Le Noise” in “Journeys” — and while none of these records would be considered masterpieces, Young’s insistence on focusing on new music during these shows speaks volumes about his commitment not to live in the past. But at the same time, there is an undeniable sense of looking back in all three albums. (“Prairie Wind” was a response to his discovery of the brain aneurysm, and some of the material on “Chrome Dreams II” — which itself is a sequel to a 1970s album that he never ended up releasing — was written in the ‘80s.) By following Young on his trip home, “Journeys” feels the most complete in terms of suggesting his humble origins and the long road he’s taken to get to where he is now.

Demme’s secret weapon with this project has always been his willingness to emulate Young’s instinctive, organic approach. As well-intentioned and valuable as music documentaries like “No Direction Home: Bob Dylan” or “Marley” are, they tend to treat their subjects as deities, playing up their cultural importance while draining them of their vitality. Demme’s films have gone the complete opposite direction, living in the moment as Young shows us a different musical persona in each documentary. To match the gentle, elegiac quality of “Prairie Wind,” “Heart of Gold” is a polished, serene presentation of Young’s sentimental songs. For the bruising garage-rock of “Chrome Dreams II,” Demme turned to lower-grade video cameras for “Trunk Show,” which complemented the music’s rough-and-tumble immediacy. Now with “Journeys,” he’s made what could almost be described as a home movie — cozy but direct — that marvels at Young’s onstage presence, which remains as volcanic as ever. (It should be noted that Demme isn’t some novice when it comes to the concert film. His “Stop Making Sense,” a chronicle of the Talking Heads performing in 1983, is widely regarded as one of the greatest music documentaries of all time.) Demme and Young have known each other for a while — the musician contributed a song to the director’s “Philadelphia” — and there’s an unmistakable intimacy between the two that lends a casual richness to these movies. This is not easy to achieve: Young doesn’t do a lot of interviews and isn’t particularly warm and fuzzy when he does agree to one. But Young is relaxed and confident as he performs, barely noticing that the cameras are there. It’s like observing a wild creature in its natural habitat.

There’s an argument to be made that the world doesn’t need three Young concert documentaries. (After all, director Jim Jarmusch made his own Young documentary back in 1997, and Young himself has directed concert films as well.) But as Demme’s project has rolled along, I’ve been struck by the wisdom of the filmmaker’s decision to keep revisiting the musician. “I’m as predictable as a Holiday Inn when you really look at me,” Young told a reporter back in ’05. “I keep doing the same thing all over again. I just make records, and the records are usually some sort of turnabout from the last record.” In the same way, Demme’s films have honored Young’s tireless creativity, portraying his artistry as an ongoing process, an ever-evolving project that will only stop when Young is physically incapable of picking up an instrument. Demme isn’t trying to deify Young: He wants to depict him in all his messy, rumbling humanity. “Neil Young Journeys” is believed to be the final chapter for Demme. If that’s the case, he’s given all of Young’s fans a wonderful memento of a life lived for the joy of honing one’s craft. “All I know is, I don’t want to die,” Young said in that same ’05 interview. “I have a lot left to do. I don’t feel like people are giving up on me, and I won’t give up on them. So I’m just going to keep on doing whatever it is I do.” We’ve been lucky to have been along for the ride.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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