![]() ![]() And audio excerpts from Cohen’s interviews with former Rolling Stone reporter Larry “Ratso” Sloman also give viewers some clues as to why Geller and Goldfine only dig so deep into the meaning of “Hallelujah” and its surprising combination of religious and sexual images. It’s great to see so much old concert footage from various periods of Cohen’s career. “Hallelujah: Leonard Cohen, A Journey, A Song” glosses over some of the best evidence to support what is, at heart, a basic story: after laboring for years on the lyrics for “Hallelujah,” and then later struggling with his own personal and creative demons, Cohen’s song helped to spark a late-career revival and mini-creative renaissance, too. ![]() Cohen’s “Halleluljah” is then presented as a trite symbol of his frustrated creative ambitions, though archival interviews with Cohen do effectively suggest that there’s more to his music-and that song, in particular-than the usual artistic triumph over industrial exploitation narrative. ![]() This was decades after the song debuted in 1984 on Various Positions, a (rather good) studio album that was rejected by Columbia Records and barely released in the United States. Geller and Goldfine’s docu-collage of interview and concert footage doesn’t give deep consideration to the conditions that led to “Hallelujah” becoming a late career hit for Cohen. ![]()
0 Comments
Leave a Reply. |