In the Court of the Crimson King: King Crimson at 50

Leave your expectations at the door and go in with an open mind. If you are not already a fan of the band, King Crimson, then this should be easy enough. If you are and you don't already know that this is how to approach their work then I'm not sure what to say. Some interesting "totally missed the point" reviews here. I will say no more about that.

If you want a typical rock-doc about this album, that album, this producer, that sound engineer, this tour, that break-up, go elsewhere. It's already out there. Start with youtube. If you want someone to reassure you overtly that the band you love is the best, or that Robert Fripp is a compositional genius who does not suffer fools glady, go elsewhere. We already know these things.

If you want a truly fascinating, touching, illuminating, baffling, sad, funny, moving and deep dive into the mind of the true artist, artists who put music above all else, and not without personal cost, then go see this movie. Rent it, buy, it, badger your local art-house cinema to arrange a showing. Bring your friends. The smart ones.

This is not glitzy, it is not glamourous, but it is candid and honest. The shooting style is minimally invasive, totally immersive stuff - you know, like when wildlife biologists go camp out with gorillas for months on end until the gorillas start to ignore them and carry on with life as normal. Amies is literally shooting from the hip most of the time here and also asking all the dumb questions (and sometimes bearing the brunt of the fallout for doing so) on the viewer's behalf.

This is a diamond in the rough. It is about music, not showbiz. It is about the transcendent places great music can take you, the dedication and diligence of artists bearing the weight of trying to achieve those heights on a nightly basis for the audience. It is about people. Extraordinary people.

Where do I begin? You do not need any prior knowledge of King Crimson to enjoy this film. Amies has discovered some really interesting people to talk to about the band, such as the Prog Rock Nun, and some of the fans. The sequences with Bill Rieflin are outstanding, he unflinchingly presents Robert Fripp as he is, and the interviews with band members past and present are filled with humour as well as introspection. And some of the cinematography is wonderful, such as the Polish tango dancers in the rain, and the shot of the drummers discussing a mistake with Robert Fripp looming over their cymbals.

Please, for the love of God, somebody give this film the distribution deal it deserves!!

I knew nothing about Crimson King.

I had listened to a little bit of their music and it told me nothing, so I never paid any more attention.

After watching this film, I can proudly say I know very little about the facts, names, impact, etc of the band.

I feel I know what drives the band, what they are trying to do, what cost it comes at, and even maybe what they get out of it.

And I quite like that was the take of the film. I can learn all the data in Wikipedia if I'm so inclined; I can listen to their recordings any time I want; this film fills a different gap.

I'm still not keen on what they create and how they dress it up. But it doesn't matter. This is not a film for fans, it's a film for people who care about a craft whichever that craft might be.

Greetings again from the darkness. King Crimson was founded in 1969 and to this day, no one can properly describe their music. Even co-founder and band leader Robert Fripp avoids labeling the music and instead states, "King Crimson is a way of doing things". Documentarian Toby Amies takes on the challenge of examining the band after 50 years.

While most associate guitarist Fripp as being the face of the band, he himself claims that it's an ensemble and always has been. But then he also describes the years 1969 through 2013 as "wretched", and that only with this most recent iteration has found satisfaction. At a minimum, Fripp is a perfectionist, and it's likely he is also a tortured genius who constantly strives for different, more, and better. He makes for a frustrating interview, and director Armies shows him mostly in various short clips, while letting current and former band members offer their opinions.

Co-founder Ian McDonald's zoom interview is the most touching. Taking place shortly before McDonald's passing in 2022, he breaks down and says, "I'm sorry Robert", for leaving Fripp and King Crimson after only a year. Obviously, there was some bad blood between the two men, even after so many years. McDonald went on to co-found the band Foreigner in the 1970's before taking on a solo career. Fripp remained with King Crimson and pursued his idea of what a band should be.

Former King Crimson bassist Trey Gunn explained being in the band was like "a low-grade infection", while current drummer/keyboardist Bill Rieflin thrived with the band. Rieflin was performing with Stage four colon cancer and countless other health issues, yet viewed making music as what he was meant to do, right up until his passing during filming of this documentary. Numerous other former members are interviewed and the comments range from annoyance to reverence. Current singer/guitarist Jakko is cautious about what he says so as not to cross Fripp. He cracks, "you're irreplaceable ... like the last bloke." It's a unique band playing unique music - a style where each world class musician plays their part based on what fellow band members (usually 8 including 3 drummers) are playing. The result is often a peak experience for the audience, even those who have attended many shows over the years. There is an interesting segment featuring a nun who is also a devoted fan of the band. She compares it to religion, and between the immersive music and Fripp's commentary, we can't help but put this in terms of philosophy, psychology, religion, and even a cult-like atmosphere. Always impeccably dressed like a British gentleman, Fripp's obsessive discipline and demanding ways, leave us with a better feel for the band, while being no closer to offering a label of description. This is not your parents' music documentary ... even if it happens to be your parents' favorite band.

In theaters November 3, 2023 and VOD beginning December 1, 2023.

Reading the reviews I realised that many people who saw this expected it to be your typical film of the bands history, it's ups and lows and tales from the road. If that's what you're looking for, this isn't for you.

If you want to see what it means to be fully committed to your art and vision, you're going to love it. It's hard to watch sometimes and it makes you wonder is this all necessary, it makes you angry at some people and it makes you feel sorry for some. There's also rare kind of beauty in it.

If you already know the bands history and the central members of it but you want to get inside the band, this is for you. If you expect it to be something else, it'll be a letdown.