March 25, 2023


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‘Laurel Canyon’: TV Review – Variety

7 min read

Occasionally a high-profile film or TV documentary arrives just in time to make it seem as if it was created to address the frustrations of making Other High-profile documentary, but coincidental time. This is, of course, the case with Alison Elliott’s “Laurel Canyon,” a dock featuring rock scenes from the case0’s and ’70s’ Los Angeles, airing on May 31st and June 7th as a two-part episode. Near the “answer song” of “Canyon Echo”, the much-debated 2018 Natyamancha covered a lot of the same grounds, but it could not solve some of the important questions hanging by the predecessor. Like: “Where was Johnny Mitchell?” She’s in this one – she has two shots in the first minute of the credit sequence, instantly reassuring us that there’s a woman in the valley at the moment and there

The biggest problem with the previous dock – instead of surpassing the way it was betrayed, originated as the glorious EPK of the Jacob Dylan Deutsch project – was that Buffalo Springfield set a cut-off date for the end of the movie with arbitrary bards in the late 60s. Broken to the side, as if it really marks the end of an era. It was like seeing a promising pilot in a series that never went green-lit, leaving not only Michelle but also Jackson Brown, Eagles and Crosby, Steeles, Nash and Young as Johnny-hit-latelies. Elwood’s “Laurel Canyon” happily extends the timeline into the ’70s. This provides milestones such as the adventures of Brown and Mitchell as Wizard-cherubs facing our kids, the Mitchell / Graham Nash live-in romance that made up the song “Our House”, the folk music as an influential addition to the folk stew element. It also allows for the emergence of David Jeffen, arena-rock and cocaine, none of which can survive the casual vivacity of the valley.

Elwood, the director of “E-Gals of History”, a movie that was strangely loved by Eagles fans, detectors and even real Ag Gols (and who also taught documentaries on the horrific arrival of Go-Go at Showtime) occasionally tries his best to darken the door to this bungalow in heaven. On the other side of the canyon (Kent State, Ultimant) and in between, the horrific events of the Manson assassination have cast a long shadow. But let’s face it: this project presents itself as an excuse to indulge in overly arranged nostalgia for the golden age, somewhat bound up in the smoke of top-smoke-level gold. “Laurel Canyon” is about four hours of fun practice, when our musical warmth and formal excellence go unnoticed and the whole world wants to go to “California Dreamin”. Apologies to Johnny Mitchell, This, Not woodstock, the garden you want to go back to is that garden.

One of the questions that no one asked after watching “The Echo of the Mountain” was: “Where’s Alice Cooper?” But he’s also in it, not in the next disguise as a shock-rocker, but as a kid on his way to Phoenix (and next door next door) in the late-late 1990s to the gorge’s log-cabin-dwelling freak player, Frank Japa, most of the names expected: love, door, Flying Burito Brothers. But to mention Japa and especially Cooper, Lloyd is a good example of not keeping his focus too narrow in his search for a common theme.

Cumling was an almost ridiculous disorder in roommate assignments – fortunately, when Stephen Steels became an actress in the role of “Monkeys” because of his incomplete laughter, he sent his roommate, Peter Torque, to replace him. . At times it seems like the whole scene was a precursor to the ultimate romantic complication of Fleetwood Mack, during the cross-engagement of Mamas and Papas, or the fact that half of CSNY fell in love with Mitchell more than that. Steve Martin talks about how JD Sauder settled with her and her boyfriend after a funny bit that Landa Ronstadt (for whom he was regularly open in Trabadou) was not sexually aggressive enough in dating, “Some horrible rows have to be crossed, and He would write a song about it and I would sing it. It was so good. ” It was sure.

In the midst of all this drama, Elwood makes a bold leap, leaving almost all of his interviews off the screen and excluding only two, confined to audio-only reminiscences. Legendary photographer Henry Diltz is the first person we see in contemporary footage and he is almost finished, he too finally joins another shutterbag Nurit Wild. Looking at these two contact sheets allows them to be official narrators, although not as much as Lloyd Gambit. Slowly realizing at first with some frustration that we’re never seeing the face of the twenty-first century in Brown, Crosby, Steels, Chris Hillman, Richie Furey, Robbie Krieger, Michelle Phillips or Johnny Echols of Love among others. (There’s a lot of interesting chat from that modern guitarist, we can almost nickname this “Valley Echoles.”) But the wisdom of that choice is quickly revealed. Elliott has used free audio like Jim Morrison, Ray Manzarek, Cass Elliott, Arthur Lee and Brian McLean, so the matic purpose is to put everyone in the same mortal coil for cinematic, leaving everyone in the voiceover instead of just the dead. This inevitably compares smooth-cheeked faces to Craigie’s face so it prevents us from getting caught up in spell-breaks so quickly. (It would be as disturbing as if Quentin Tarantino was able to flash Leonardo DiCaprio and Brad Pitt 50 years later. His Movies of the Ages.) While this was probably not a curiosity, Diltz and Wild are seen as the only two modern faces on the screen, but such images are still surprising or capable of entering a wonderful array that has never been seen before.

There may not be a better way to do sales work in “Laurel Canyon” than to rejoice at how unprecedented these hundreds of photographs may be, so you have to take our word for it, go for it, so that their ongoing legacy grows a little more! Real motion pictures. But there’s also an unexpected treasure trove of vintage clips, also jacking it up with Dick Clark at Springfield’s “American Bandstand” debut, from home movies to Neil Young’s vision. (Among the few live mainstream young scenes who obviously didn’t sit down in an interview with Elwood. This is not surprising for the expert blue: the previous “Echoes of the Canyon”) allows for shots to be played on the guitar for his participation in the studio through the glass split for ounted last credits) ) Only the new shot footage mostly includes drone shots of the canyon, or quick footage of a sports car racing down a winding road that can be “once-in-a-lifetime” second-unit stuff consisting of time in Hollywood. “

Geographically, here “There There “Gertrude Stein as a place rather than imagining his characterless Oakland wild dream, so a poor music fan who grew up in the Middle East who dreamed about the myth of Laurel Canyon, when he came to town as a tourist, found a landmark or photo-up.” Law Unpaid Canyon Country Store. It presents some of the challenges for Illwood in trying to present a feeling for “Laurel Canyon” that is more than Mom Cass’s all-star backyard party series TV clip or steel, yet he establishes it as such a physical locale. Where a major whole metaphor of the canyon can protect all the “arteries and capillaries” that transform into the stems and branches of allegorical music – except that music never brings us to the brink of death.

When Diltz first met Johnny Mitchell, when he was leaning out of his window and chatting before entering the house, Diltz could say nothing more about Laurel Canyon’s status as an idol than the pictures he first saw. It has enjoyed the myth or reality of a small wooden town where masterpieces are being preserved at any stop on the way to rural dolls. As Michelle Phillips points out, you can get a very real sense of what was lost, she and her husband L.A. The Rock Stars led the migration west to the Ritzier Gorge. The “Bell Air Dreamin” didn’t just have a ring, and it wouldn’t take long before some words from New York in the mid-70’s were adapted into a leak.

David Crosby – who spends almost no time painting the movie like a jerk, since it was already so well covered in “Echo” and his own documentary – is the one who can make the final sales pitch: “There are periods in history when there are peaks There is and no one really knows why. Paris “in the 30’s. Renaissance in Italy. Los Angeles is about 75 to 757. Although he actually means less of it. The rest of the world will have Paris, but those of us who have never stopped buying California rock dreams, who are just a CSN “Du-Du-Du-Du-Du-Du-Du-Du-Du-Du-Du-Du-Du-Du- Doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo-doo Du-du-du-du – do’s and don’ts “Surela Koda? This is how “Suite: Judy Blue Ice” was.

“Laurel Canyon” premiered on May 31st and June 7, at 9pm ET / 6PT.

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