Marianne & Leonard: Words of Love

This is about a very special relationship over many years, and will certainly appeal to aficionados of Leonard Cohen. The story is well told and you will probably shed a tear at the end. If you enjoy the music and verse of Leonard Cohen then this is a film for you.

In some ways this film can be seen as an extended victim impact report. It is about Marianne who clearly contributed much to Cohens life on more than one level.

It also leaves a great deal unsaid and hazy. The assumption is that the cultural moments of the day ( and the copious drugs) have blurred the stories in many many ways. Despite all of that it somehow brings the back story of Marianne and Leonard into focus in a very sweet way towards the end of the film.

A number of the interviewees are just plain great. Watch out forAviva Layton who seems to be uncredited but she deserves better.

In many ways this film could have been much better if we had got past the headlines. Archival footage is used but the viewpoint most of the time is very much the male point of view.

This much thoughtless behaviour seems highly paradoxical. The myth of the unreachable poet seems to have attracted considerable numbers of women to the Cohen fan club. They felt like they were being understood. But seems to me; if that were really true - the story would have turned out quite differently.

What lifts this film is the redemption towards the end when we see the famous letter from Leonard to Marianne. In his dying moments Leonard recognised the value of his connection with Marianne. Coverage of the 5 or 6 years in a Buddhist monastery definitely hints at a rebalancing of Cohens' personal life and perspectives.

All in all this is a rather gentle sideways look at a significant relationship but understandably it is overbalanced by the the celebrity aspects of the story.

Marianne herself is present in the story but mostly in a back handed compliment kind of way.

A lightweight, breezy documentary about one of the many relationships Leonard Cohen had with several beautiful women. As correctly described in the documentary, Cohen was not an easy person and wasn't after a "normal life" of getting married and spending life with the same woman.

The titular Marianne was a complex personality in her own right, already married with a child when she met Cohen and lived with him on an off for several years in what was an open relationship on both sides.

Some complained about Marianne not having been fleshed out because Cohen was a famous poet and songwriter, hence more important. From my point of view, whatever artistic aspirations Marianne might have had, it never developed into any worthy works. Not because anybody prevented her from "creating", but because of her own free will she went back to Norway at the end of the story and worked in an office for the rest of her life.

It's certainly not up to the audience to judge what sort of relationship Marianne and Leonard should have had. For sure, it was something that lasted until the end of their lives (very moving message sent by Cohen to the dying Marianne) and who's to say that it wasn't perhaps the most perfect relationship ever?

If you are familiar with Canadian Leonard Cohen's work, you'll recognize the deep voice singing lyrics of poetic joy and lamentations mostly about women in his life. Such is also the spirit of the informative and moving documentary Marianne and Leonard: Words of Love, both joyful like his megahit Halleluiah and woeful like his song of goodbye to his muse Marianne, a Norwegian beauty capable of inspiring transcendent music.

A woman in my theater row disclosed that the two concerts of Leonard she saw were a religious experience. Indeed, here was a poet and songster who exuded a prayerful love of life and inspirational muses like Marianne and Suzanne. That he spent six of his last years in a monastery is no surprise, nor that during that Buddhist time he lost his fortune to a "friend" who embezzled it all.

Love and loss fueled his '60's persona that with his poetic writing and dark good looks magnetized women to the extent that the endless supply of supplicants seemed to energize and inspire him rather than laying low ordinary men with the excess. This doc is about the beginning of his career with Judy Collins introducing him as a singer rather than just a composer who lived with Marianne on the idyllic Greek isle Hydra.

Although director and close Marianne friend Nick Broomfield stays out of the lovers' way, he loses some power in the multiple vignettes that sometimes feel isolated rather than fluid. Nor does the director allow more than just snippets from memorable songs such as Suzanne, Goodbye Marianne, Halleluiah, and Bird on a Wire, which are my favorites. In truth, this estimable doc is about Leonard's love life rather than his songs anyway.

I miss this unique troubadour, and you will too after hearing him again and living for a short while with his inspirations.

Patched together from interviews and old home movies, this 100-minute documentary charts the 10-year romance between Leonard Cohen and the woman he called his 'Muse', Marianne Ihlen from Norway, whom he met on the Greek island of Hydra in 1960.

There were other women - many of them, sometimes more than one a day. Free Love, fueled by drugs - acid, uppers, downers - was just an excuse for promiscuity, but promiscuity was mandatory in the 1960s. And not without casualties: suicides and deaths from overdoses. Marianne had a son by her first husband, Axel, whom we see as a happy child on the island. Like other children of that era, he ended in an institution.

Cohen has given us some great songs, and his dark gravelly voice is one of the iconic sounds of the last sixty years, but Nick Broomfield's unflinching documentary paints a portrait of an egotistical, self-destructive man who took up women and dropped them as casually as a Kleenex.

Three months before he died and knowing death was coming, he sent a love-letter to Marianne who was in her final days. So maybe, the man had a heart. His songs seem to say so, but his life rather less so.