Hallelujah, les mots de Leonard Cohen

Cut 20 minutes and you've got a pretty good music doc.

The director clearly wanted to include all of the celebrity interviews, but they seemed kind of unnecessary and when stacked together, repetitive. Those are probably most of what you could cut.

Otherwise it's an enjoyable film with really cool archival footage.

Greetings again from the darkness. He's not an easy man to figure out. His many written and spoken words can be challenging to interpret, and his art comes in many forms: poems, novels, drawings, and songs. Leonard Cohen was an enigma, yet also a treasure trove of thought-provoking work crafted over fifty years. Collaborators for more than 25 years, documentarians Daniel Geller and Dayna Goldfine knew tackling Cohen as a subject would be too much, so by taking inspiration from Alan Light's book, "The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of 'Hallelujah'", they were able to approach him through his most recognizable and most oft-covered song, "Hallelujah." The result is a captivating two hours that will appeal to Leonard Cohen devotees and enlighten those new to his work.

We open on December 21, 2013 in Auckland, New Zealand. Leonard Cohen is on stage and sings the immediately recognizable first "secret chord" line of "Hallelujah." This would be his final live performance. Someone offers the description of LC as "a spiritual seeker", and that appears to have been the case most of his life. Perhaps there is no better evidence of this than his pursuit of writing lyrics to "Hallelujah." We see the dozens of notebooks filled with his handwritten lyrics. We know there are multiple versions of the song, and Leonard admits the song was never finished ... it was ever-evolving, same as the writer. Although Cohen passed away in 2016 and was not interviewed for this film, precious archival footage allows us to see him expressing his own thoughts alongside new and recorded interviews of those who knew him for so long.

The great Judy Collins tells of the time she encouraged Leonard to come on stage and sing his song "Suzanne" with her. It was 1966 and though to that point, he had been mostly a poet, he now immersed himself and his words into songwriting. In regards to his poetry, so many believe one must suffer to have anything of value to say; however, Leonard was born into a wealthy family, and he created reems of meaningful passages as a deep thinker and observer. Other terrific interviews come courtesy of music journalist "Ratso" Sloman (who also shared tapes of his own Leonard interviews with the filmmakers), long time back-up singer and co-writer Sharon Robinson, Cohen's former girlfriend and renowned photographer Dominique Isserman, lifelong friend and fellow Canadian Nancy Bacal, Canadian journalist and lifelong friend Adrienne Clarkson, and John Lissauer who first produced "Hallelujah" and also composed the score to this documentary.

The song itself took a journey worth exploring. Leonard initially worked on the lyrics for years. Once the song was recorded, it (and the entire album, 'Various Positions') was rejected by Columbia, the record label that had already paid for it. The album and song were finally released on a small independent label. Ultimately, Bob Dylan began performing the song in concert, and it was gradually adopted by other artists, and reached mainstream status when it was included in the animated hit movie, SHREK. How is that for an unusual journey for a song?

Even the SHREK saga wasn't straightforward. Rather than use Cohen's version of the song, the director chose the version sung by Rufus Wainwright, but then decided it didn't fit, and shifted to the John Cale version. As a final twist, it's Wainwright's version on the released movie soundtrack. It's not just the lyrics that have multiple versions. As of last count, more than 200 artists have their own version, with those of John Cale and Jeff Buckley being the most frequently listened to. Both get their due in this documentary, and it's quite moving to compare the different approaches ... one's mood must be the determining factor on which fits the moment, as it's impossible to say one is "better" than the other. We also hear from other artists who testify to the song's personal importance to them. And to reinforce the point of how the song has become part of the fabric of society, there is a montage of TV contestants singing their version in hopes of moving on to the next stage.

Although the filmmakers use "Hallelujah" as the structural force for this film, they expertly weave in Leonard Cohen's personal history throughout. They remind us that his early song "Suzanne" was written well before he met and married Suzanne Elrod. We hear a bit from the cringe-inducing partnership with producer Phil Spector for one album. The filmmakers highlight Cohen's 1993 decision to isolate at the Mount Baldy Zen Center through 1999, before returning 'back down the hill' to write more songs. It was in 2005 when Cohen discovered that his long time manager had bilked him out of his earnings and assets. This sent Leonard back on tour for the first time in 15 years ... he performed 379 shows over 5 years, thrilling his fans and introducing many new ones to his music.

There have been other documents focusing on Leonard Cohen, most notably, LEONARD COHEN: I'M YOUR MAN (2005), and MARIANNE & LEONARD: WORDS OF LOVE (2019). Both have their merits, yet neither capture the remarkable story of this 'spiritual seeker' as thoroughly as this one. He was an unusual and remarkable man who wrote, "I did my best. It wasn't much." Maybe the only false words he ever penned.

Opens in theaters beginning July 1, 2022.

It's a documentary on the creative life of Leonard Cohen with particular emphasis on his signature song, "Hallelujah."

The film takes a mostly chronological approach beginning with Cohen's early musical career and follows through to his death. Many people who worked with Cohen, including various producers, are interviewed about Cohen. Some interviews with Cohen, especially by Larry Sloman, and with clips of Cohen in performance are included. A block in the third quarter of the film deals with the many performers who covered "Hallelujah."

This was a nagging disappointment, especially since I've like Leonard Cohen for a long time and included one of his songs in our 1969 wedding. This is really two incomplete documentaries mashed into one. The one that would have interested me the most would have been the spiritual journey of Leonard Cohen. The first half is mostly that, but then it obsesses over "Hallelujah" to the extent of including American Idol performers. The other documentary could have been on "Hallelujah" the song, which wouldn't have needed all of Cohen's background and could have better explored the sacred/secular/sexual aspects of that song.

Still, if you like Leonard Cohen and his music, you will gain some insight in seeing this film. I did, but wished it could have been so much better.

Hallelujah: Leonard Cohen, a Journey, a Song left me in its spell, and Cohen's. The film has so may layers, it is uplifting and thought provoking. A beautifully crafted film.

For those of you who are unaware, Leonard Cohen was a Jewish Canadian mystic poet. His concern was the apparent conflict between the sacred and the profane. One day he realized what he was writing might actually be songs, and so began a concert and recording career. The song in the title "Hallelujah" was a track on an album which his company refused to release -- in my opinion, Cohen's mixture of the sacred and the earthy in this song likely offended the equally Jewish head of the company so much it was not released in the US. Nonetheless, the song caught on over the decades.

As a Jew, I find nothing surprising in this. As Cohen notes in one of the later interviews included herein, Judaism makes you want to raise your fist and to shout hallelujah. To Christians, who believe in a benevolent G*d, this seems to be confusing; however Jews recognize that the world is G*d's creation just as much as the Torah. Which is why there are more than a hundred verses in Cohen's notebooks, with subjects ranging from angels to bondage.

Cohen wrote some other excellent songs, too.