He does this through brilliant pairings of songs and footage, like setting 8mm home movies of Cobain as a toddler against a music-box rendition of “All Apologies,” the In Utero track that served as a more succinct suicide note than the one he actually wrote.
DEFINE MONTAGE OF HECK FULL
Morgen presents Cobain’s tragic life as a script that was written from early childhood and played out in full view of the public. And from the beginning, the central theme comes from Wordsworth: The child is the father of the man. Through a mixed-media approach that includes not only the released archival materials, but new interviews, flip-book-style extensions of Cobain pencil sketches, and original animation, Montage Of Heck makes his life felt as acutely as his bone-rattling music. He’s made an impression of Cobain, which is a much more intuitive and vital enterprise. Though first reaction to news of another Cobain profile might understandably be, “Is there anything left to say about Kurt Cobain’s legacy?,” the answer with Montage Of Heck is emphatically “yes.” Morgen isn’t interested in rehashing the facts and highlights of Cobain’s life and career, or in providing chin-scratching insights via music scholars and other talking heads. Simpson fleeing the police in a white Ford Bronco. But the full archives are owned by the Cobain estate, which for the searing documentary Kurt Cobain: Montage Of Heck handed them over to the best possible curator in Brett Morgen.Ĭreating montages of heck happens to be Morgen’s specialty, particularly his (and co-director Nanette Burstein’s) adaptation of Robert Evans’ The Kid Stays In The Picture, which rendered a juicy Hollywood documentary collage, and “June 17th, 1994,” perhaps the best ESPN 30 For 30 doc, which covered a day where amazing sports events coincided with footage of O.J. Biographers have been feasting on some of those materials for years in trying to account for Cobain’s prodigious talent, and the tormented path he took from the logging town of Aberdeen, Washington to discomfiting fame to his eventual death by his own hand in April 1994. But the documentation started long before anyone knew who Cobain was-in 8mm home movies, in obsessive diaries and sketches, in raw poems that he’d later polish into lyrics.
After the album Nevermind was released and made Cobain and his band, Nirvana, rock stars of almost instant generational significance, there followed the deluge of magazine and MTV profiles that could be expected of any cultural phenomenon. The life of Kurt Cobain was not insufficiently documented.
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