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.

Excellent documentary, ostensibly about the friendship and subsequent rivalry between two West Coast retro rock'n'roll bands: The Dandy Warhols and the Brian Jonestown Massacre. What it actually turns out to be is a portrait of a borderline psychopath - Anton Newcomb - and his tortured relationship with the rest of the world. Interestingly, for a music documentary, there is hardly any music. What there is - snatches of songs, more often than not aborted by the performers - is incidental rather than central. Although the protagonists are musicians, the story is not about music but rather about a particularly American version of a British myth of a cartoon lifestyle, ie, one where nobody has to take responsibility for behaving like spoiled adolescents on a full-time basis. Tantrums, drugs, violence, grossly dysfunctional attitudes, egomania on a truly epic scale - all of this is excused or positively encouraged because it conforms to some collectively held idea about what rock'n'roll is about. As a film this is a first-class documentary but it raises more questions than it answers. For example, why is Anton's music so conservative? For someone so wild and outrageous (and he IS wild and outrageous) his music never seems to have progressed beyond the most obvious derivations of his 60s idols (The Stones, Velvets etc.) For someone who claims to be able to play 80 instruments he has never bothered to learn to play any one of them beyond the most rudimentary level. Similarly, the Dandy Warhols burning ambition is based on a vision of rock'n'roll which is astonishingly fossilised in 1969. Nothing wrong with pastiches, of course, but surely there's more to musical life than perpetually acting out a cartoon from the late 60s. Why don't they take some risks with their music - in the way that their role models did? Because, one suspects, this is not about music. Music is just an accessory, a prop, or an excuse, to lead completely dysfunctional and irresponsible lives. But why? In the Dandy Warhols case, the answer is obvious: to make lots of money and be famous. Big deal. Anton Newcomb's case is more interesting. He is obviously very talented, but every time he is given an opportunity to reach a wider audience he sabotages it, usually in the most dramatic way possible. He is terrified of success, and at the same time, deeply resents anyone else who has it - especially his former friends the Dandy Warhols. Fascinating movie. Highly recommended.

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.

The fickle nature of the music industry is well known. Most bands will try and flounder with a whimper; true visionaries will fail to find an audience or be deemed as too great a risk by the corporate machine; and the pretty but talent-free will strike it rich with one instantly forgettable tune after another. It's been documented in film before, but never in such brutal, in-your-face detail as Ondi Timoner's documentary Dig!. The cameras followed bands The Dandy Warhols and The Brian Jonestown Massacre for seven years, covering their friendship during the bright-eyed, let's-change-the-world beginnings to the bitter rivalry that formed between them as one made it big and the other struggled in infamy.

Both bands wanted to start a music revolution - one that would see artists take back control from the industry heads who ultimately lacked vision - by refusing to sell out. The Dandy Warhols' professionalism and willingness to bend as long as it avoided breaking meant that their star rose with increasing speed, before Bohemian Like You was snapped up by a mobile phone company and they became an overnight sensation, particularly here in the UK. This savviness is mistaken for bending over by BJM frontman Anton Newcombe, and soon Dandy lead singer Courtney Taylor-Taylor is receiving strange packages containing shotgun cartridges. Meanwhile, Newcombe's increasingly threatening behaviour towards everyone around him sees his band often struggle to make it through a set without brawling on stage. BJM were descending quickly from the next big thing to a circus sideshow.

Despite the chaos on screen, Timoner never loses sight of Newcombe's raw talent. His actions can be blamed on mental illness, egomania or copious amount of heroin, but he is the real deal, pouring everything into his work and banging out records at a miraculous rate (they released three albums in 1996 alone). The genius and madness meld together to create an image of a man worn down by his philosophy, someone who preached love but only ever gave any to himself. His descent is both tragic and funny, and every fight, argument and storm-out is captured by Timoner's ever-present camera. For a film ultimately echoing Newcombe's views on a corporate mechanism more interested in money than artistry, Dig! somehow forgets the music itself. The odd bar or snippet can be heard here and there, but it's usually interrupted by some act of self-destruction or other. Ultimately however, Dig! is a fascinating study of the idea of selling-out and a must-see for music fans, serving as a cautionary tale for anyone considering starting a band.

A really cool flick. A must for any music snob. You don't really have to know about the bands to enjoy the movie. Before the movie, I only heard only two songs from the Dandy Warhols. The only thing is required is an open mind.

The movie centers around the Brian Jonestown Massacre. The Dandy Warhols have a role in the film, as the 'rival band,' but they are second fiddle to the BJM. The Dandy Warhols don't play as big of a role in the film as I originally guessed, but then again, they didn't have the element of excitement and unpredictability of the BJM.You can't help but be fascinated by the band and its very charismatic front man, Anton Newcombe. By itself, it's an insightful film and study on the music industry. Just watch this film and enjoy.