Dig!

Rock n' roll is a messy business and DiG! demonstrates this masterfully. A project of serious ambition, and perhaps foolhardiness, the filmmaker is able to mend together seven tumultuous years of following around two unwieldy rock groups. With that said, the abundance of quality material ensures the film's ability to captivate the audience. If you've ever been interested in any realm of the music industry, this movie will undoubtedly be an arresting viewing. the music in the film, although it suffers minimally from requisite cutting and pasting, is worth the price of admission alone. the morning after i saw DiG! i went straight to the record store to pick up a Brian Jonestown Massacre album (i was already initiated to the Dandy Warhols' sounds). Primarily defined by its exploration of rock music, the film succeeds at other profound levels. DiG! is a sincere, and sufficiently objective, glance into the destructive and volatile nature of the creative process and the people that try to wrangle those forces.

Back in the 2000's, The Dandy Warhols were one of my favorite bands. I may or may not have heard of The Brian Jonestown Massacre. I'm not that cool or plugged in. The Dandy Warhols formed in Portland. They befriend another unknown band called The Brian Jonestown Massacre. For them, the BJM are a bunch of fun guys from the big city who are way cooler than them. BJM's leader Anton Newcombe is a musical genius. He and Courtney Taylor-Taylor become the best of friends. They find comradery in their common leadership and as main creators in their bands. As the Dandys take off, BJM remains stuck in band infighting, and Anton's volatile self-destruction. The bands' friendship descends into Anton's unwanted rivalry and his desperate love-hate relationship with the Dandys.

Most music band biography deals with a famous band's rise and fall. It's a very familiar formula and one that can be stale. This one is different since it's about a band that never made it. The juxtaposition of the Dandys and BJM's different paths is really compelling. It is the world of 90's A&R, the arrogance of genius, the drug haze, and the obsession for fame. It never convinces me of Anton's genius. It only give glimpses of their songs. Their live sets are never that long before a fight breaks out. The difference between the two bands is actually quite informative. More than any other band biography, this shows the pitfalls. If nine tenths of bands fail, this is a more realistic story of an up and comer.

A documentary about two rocks bands, spanning a number of years. Brian Jonestown Massacre and the Dandy Warhols. What makes it special is the examination of the complex contrasting personalities and the ironies of success and failure.

Anton Newcombe, the main man of Brian Jonestown Massacre, is widely recognised as a musical genius not only by his colleagues, his friends and rivals the Dandy Warhols, but also by record producers and most people who have worked with him. Sadly he and his band members are also incapable of integrating with the real world. Newcombe picks fights with band members on stage or with members of the audience (getting arrested at one point for literally kicking in the head of a fan). Newcombe knows no limits – he plays between 40 and 100 different instruments, writes and produces all BJM's music, can produce enough songs to fill a whole album in a single day, has a prophet-like obsessiveness with his own musical genius, but is also a heavy drugs user, flies into rages at the slightest compromise of his own artistic integrity, orders his band members about as if they are lower forms of life, and can blow deals as fast as he makes them. BJM go through a large number of record labels in fast succession – they sign them up as soon as they realise Newcombe's talents and let them go as soon as they realise he is totally uncontrollable.

The Warhols acknowledge their debt to Newcombe's creativity and don't even put themselves in the same exalted sphere of greatness – but the Warhols have something that BJM don't – the ability to integrate their talents with common sense, the real world, and their market – as a mixing pot of talent (even if much of it is distilled from guru Newcombe) and accessibility, they are the very definition of 'cool.' DiG! follows the parallel careers of the two bands with increasing poignancy. At one point, Newcombe pulls stunts designed to generate publicity by sending apparent death threats and hate messages to the Warhols (in a box containing live ammunition and insults like a bar of soap 'to clean up their act') – only he forgets to tell them it's a stunt and they get so paranoid they take out a restraining order against Newcombe. By the time the Dandy Warhols take off in Europe with hits like 'Every Day Should Be A Holiday' and 'Bohemian Like You', Newcombe is becoming increasingly isolated. BJM are stopped and the band breaks up when they are arrested for possession of marijuana – the Warhols get busted for drugs around the same time, let off with a warning, and even allowed to keep the grass.

The wider appeal of DiG! is that the lessons of genius versus accessibility go way beyond two bands or even rock music. The downside is that it is still a documentary, however intimate, and it will mostly only appeal to dedicated film fans or people who are already interested in the music of one or both of the featured bands. Newcombe may well be a largely unrecognised genius, and there are feint glimpses of this in the film, but to the unattuned ear there is little more than the assertions of the people interviewed to attest to this. In the words of one of the band members: "In every spiritual tradition, you burn in hell for pretending to be God and not being able to back it up." Newcombe isn't pretending – but numerically there are maybe still insufficient people to appreciate him in his own lifetime, and DiG! has an uphill struggle to rectify the balance in favour of a tortured but largely unrecognised genius.

Anton Newcombe and Courtney Taylor are friends, they both are the leads in their own respective bands; Anton with The Brian Jonestown Massacre and Courtney with The Dandy Warhols. What's interesting about their friendship is that they are rivals; its a love hate relationship. At times you both hear them praising one another, but the next second they are complaining at how stupid and self absorbed they are. While the Dandy Warhols went on the reach commercial success, BJM still was stuck in the underground scene; and for good reason why.

The focus of Dig! is more towards Anton and the BJM, as they have a lot more substance. They are the most dysfunctional band. During gigs they will fight and bash each other. Anton will hit other members if he feels they aren't performing correctly. With the amount of drugs an alcohol they consume, fight was always waiting to happen. You know how people go to car races just to see if a huge car crash happens; that's why people would go to their gigs, for the fights.

Anton is very unstable. Always thinking himself as a music messiah, he wants to change music and create a revolution, but he could never get out of the underground. He is a very talented musician, its amazing how many instruments he can play and with such skill. But his draw back is he cant escape the world he created; a prolific musician stuck in a black hole drugs, alcohol and depression. On the other side, the Dandy Warhols were having their own troubles. They didn't find much success with their first album and were constantly fighting with their record label. But they found huge success in Europe. But Courtney keeps being sucked back into the world of Anton. Its interesting that both Anton and Courtney both had what the other needed. Courtney always wanted to be musically talented as Anton, though Anton wouldn't say it, he needed the commercial success that the Dandy's had, to make his revolution.

Over the seven year course the film crew followed these two bands, there is a lot of footage. There is never a dull moment in Dig!. It is constantly moving along as it doesn't have time to slow down as it has to much to say, seven years of story telling in the 1h 45mins is a hard job. Ondi Timoner has done a great job of piecing together one of the best music documentaries that makes you always wanting more. Even if you don't like the bands it still deserves viewing; it transcends the music to reveal a great story of a successful failure.

You wont be disappointed.

DIG! is funny, fun, amusing, interesting, stylish, and very well done. Knowing that it was made on such a shoestring budget over 7 years it is amazing that such a story can be told, especially with such style and substance. If you are a music fan or documentary fan this is a must see.

Focusing on The Brian Jonestown Masssacre and The Dandy Warhols over the years is a brilliant way to show the contrast between a decent band who meets with moderate success through perseverance and the ability to compromise and a genius megalomaniacal lead singer backed up by a varied cast of characters who sabotage their own success through drugs, alcohol, and insanity. If I did not know that this is footage of real people, I would swear it was an incredibly well written and imaginative scripted piece. The story is compelling, concise, and simply amazing.