Gram Parsons: Fallen Angel

Among the most fascinating and ultimately saddest stories in American popular music is the brief life and odd afterlife of Gram Parsons, one-time Byrd, Burrito Brother, quasi-Rolling Stone and inventor of the "cosmic American music" that became alt-country or Americana after his death. Fallen Angel: Gram Parsons, a UK-Germany television production that screened as part of the Portland Reel Music festival, is a feature-length documentary that explores Parsons' life and musical legacy with a host of the musicians and family members who knew him best. Director Gandulf Hennig — a small and hyperactive German — hosted the screening in Portland, and was clearly blown away by an audience queue that extended around the block, forcing a sold-out showing and emergency late-night screening for the remaining audience.

What is clearest about the Parsons documentary is that everyone who knew him realized they were in the presence of genius - a completely self-destructive and obnoxious genius, but genius nonetheless. His most prominent musical partners, including Chris Hillman of the Byrds, Keith Richards of the Stones, and Emmylou Harris, testify so eloquently. But the same self-assured genius made Parsons almost completely unbearable as a musical, romantic, or family partner, and he tore down relationships that could have saved him and enriched music immeasurably, alienating himself from his most dedicated allies. It's also clear that in his abbreviated life, Parsons was able to play key roles in some of the most significant musical transformations of his era - taking the Byrds into proto-country, performing on the bill with the Stones at the disastrous concert at Altamont, bringing Emmylou Harris to national attention, and playing an active role in the rediscovery of American roots and country by the rock audiences of the time. Keef in particular expresses his remorse at playing with Parsons, recognizing his gifts and his talent, and not recognizing how Parsons' own habits and weaknesses were threatening his prospects to continue his musical growth (Mick Jagger, not interviewed here, is depicted as a far more competent professional who tried to encourage Parsons to take his career, health, and family life more seriously).

I was never a huge Parsons fan; my knowledge of his musical legacy comes from the performances by other musicians of his songs. But seeing the old concert footage - from sophisticated live sets to ramshackle house jams - makes it clear that he was a true one-of-a-kind, with a gorgeous voice and spectacular physical beauty, coupled with songwriterly gifts that were just beginning to grow - before alcohol and drugs caused caused his eventual decline and death at the age of only 26.

I'm much less interested in the morbid tale of Parson's afterlife - the theft of his corpse and his partial-cremation in the desert by a road manager. But as Peter Buck of R.E.M. says in the film, that sort of mystery explains a large part of his mystique.

My only complaint about the documentary, which is incredibly detailed, loving, and sympathetic to both Parsons' survivors and his musical colleagues, is that the director puts too much emphasis into talking-head commentary and fails to show any complete performances, or any live footage longer than a minute or so long. Additionally, there were either very few interviews ever recorded with Parsons or Hennig chose not to include them. As a result it's harder to get a sense of how Parsons himself spoke or expressed himself.

I already wrote a comment saying how i loved the movie Fallen Angel.

I wrote what a drip Gretchen seemed compared to Emmylou. Gram had already left Gretchen, i have know doubt he would have ended up with Emmylou, they were meant for each other.

The fact that Gretchen doesn't GET why Gram's body was taken out to the Joshua tree reinfects how little she knew the man. I do think that it could all have been handled better, the cremation should have been completed, but Gram's resting place will always be at the Joshua Tree, no matter what people like Gretchen and family members think.

I don't understand why you didn't print my last comment. Not only does "Love Hurt", but i guess "Truth Hurts" too.

Gretchen tried to make it seem that Gram had gone off to dry out, right, that's why he had drugs and a chick with him. He has already left Gretchen. If anything she drove him out rather than dried him out. Print the facts.

Seeing this movie reminded me of the pitfall's that "stardom"can bring. I found this doc/ movie to further expand on the myth of Gram Parson musical legacy and influence in American music. It was profoundly sad that he had such a short stay. Yes the doc is shot at times with a lot of movement & at times the editing process is not smooth. Not much footage exists. The director made an effort to put together footage that was well over 20 years old! I found the content & tribute to Gram very tasteful & full of passion. It's been made with the best intentions. It projects the "sweet & sour" moments that human beings endure. I was moved to to tears seeing Emmy Lou talk about her "soulmate in music". I am glad that the director & friends who saw that this Doc was made brought forth many of the stories with them and shared with the fans his rise and fall in a manner that was both informative & entertaining. Kudos! It's a must see if you do love Gram Parsons. This is a tough story to tackle. I for one think that this tells a very HUMAN story.

I too wish there had been a little more depth in this movie. However, when my sister saw it at the screening at the Belcourt Theatre in Nashville, along with many of Gram's close friends and colleagues, she never heard anyone voice some of the complaints registered here.

I think calling Gram "obnoxious" is too simplistic. He obviously had his obnoxious moments, but most highly creative people do. It's part of that artistic temperament you've heard tell of. However, I don't think most people could have registered the emotion they showed had Parsons merely been a gifted jerk. This is where the movie shines. The directors show some of the people who genuinely cared about Parsons as a person, and how his untimely death affected them.

I understand the attempt to show Parsons as more than the very pretty face and voice idolized so often. I think the filmmakers wanted audiences to understand Ingram Parsons as a human being, a guy who had a lot of breaks in his life, but who also had a legion of demons chasing him. I actually found myself liking this man a lot by the end of the movie. Parsons was a basically nice, decent guy who had a lot of bad wiring, not the least of which included an inborn tendency to addiction. I felt incredible pity for him.

I hope this movie spurs viewers to listen to Parsons' music and to appreciate the influence he had on popular music. If it does that, it has done its work well.

You should know I am biased in this comment. I know some of the people in this documentary. And I had Gram's piano in my house for ten years after he died.

I value what he found with Emmylou as charmed, unique and important. His music never touched me personally because it was so hopeless in intent while being so seductive and original in its phrasing. This is everything Sinatra was claimed to be. It was genuine; just the wrong food for health.

There are two stories here. One is the story of what actually made the music special — when it was. You won't get this from old musicians or girl friends. You have to get it from someone who is a storyteller of skill equal to the subject: subtle, light, subliminal and full of contradictions. Addiction before it manifests, while it is still an urge.

This documentary misses that, misses it completely. Some people say that he was influential and then point to what today is called country music. That's neither useful nor correct. You miss everything if you miss this.

There is another story, the "Tennessee Williams" family tragedy that proceeds three generations before and already two after him. Its vastly more complex than described here, cleaned for obvious reasons.

Some day, someone may find a way to tell this story in a way that is not merely voyeuristic, but in a way that matters, that is deep and that changes lives. Until then, simple people will just want the broad outlines, and some unusual drama. And they will be able to get that here.

The editing is fine. The archival footage is valuable. There are lots of good songs.

Ted's Evaluation -- 2 of 3: Has some interesting elements.