Leonard Cohen: I'm Your Man

I was completely mesmerized by the performances in "Leonard Cohen I'm Your Man" and really liked the juxtaposition of his voice talking with other voices singing his songs. I saw the movie at the Sundance Film Festival and fell in love with his songs all over again. I thought that hearing about his life through his words and commentary was totally absorbing and I enjoyed every minute of it. On another level it also introduced me to artists that I didn't know that well or at all. I am now a huge fan of Rufus Wainwright's who is a perfect person to sing Leonard Cohen's songs. I thoroughly enjoyed myself and recommend this movie 100%!

Leonard Cohen is a songwriters' songwriter, like Townes van Zandt, about whom a documentary film appeared last year. The subject of this new one, produced by Lion's Gate Television and now in limited US release in theaters – is famous here and in Europe and an icon in Canada and still vital today, in his early seventies, after a very long career -- though younger mainstream pop fans may be unfamiliar with his name. A Jew from Montreal, the son of a successful haberdasher who died when he was nine but left him money to live on, Cohen means a lot to people who write songs or who've cared about lyrics from the Sixties when John Hammond discovered him and the Seventies when Robert Altman used his songs in McCabe and Mrs. Miller and on into the present day, when he has returned to perform after an absence of over a decade, partly due to financial need. But you won't get all this information from this documentary. Nor will this be the ideal introduction to the man and his work.

The film cuts into music with talking heads in the manner of such films and is mainly an editing together of a concert honoring Cohen featuring Nick Cave, Rufus Wainwright, Beth Orton, Jarvis Cocker, and others with a long interview of Cohen at his home in L.A. interspersed with old footage of the man's life. Some overly pointed tricks with stills and overlays of red blobs are a distracting element in what otherwise is technically unimpressive film-making. The impression that emerges is that Cohen interviewed intercut with texts of his poems and himself singing would make a fine and intelligent film. Concerts by admirers would be another, lesser, film. Combining the two elements diminishes both and results in a film that seems slapped together.

At the end as a kind of surprise Cohen himself sings a song backed up by Bono and the Edge, who've sung his praises in words earlier. However this performance is unremarkable and not a climactic finale.

Cohen in his interview amid many wise and pithy remarks provides us with a tantalizingly sketchy narrative of what sounds like a fascinating life: we find out that he grew up in Montreal and was active with a group of poets there; has lived on the island of Hydra and in the Chelsea Hotel and made love to Janis Joplin and wrote a song about her; has a reputation as a ladies man but has spent "ten thousand nights alone"; has been ordained as a Zen monk and lived in a monastery on Mount Baldy; learned early the virtues of modesty and despair and the acceptance of failure as inevitable. We would like to learn more.

Respect is clearly due a writer-musician of such originality and intelligence, but apart from the uneasy linkage of interview and songs, the concert clips covered in this film might have been better if the performances had been more straightforward and less worshipful. The songs are made into anthems and the most essential element, the words, gets muddled. I'm pleased to be introduced to Rufus Wainwright, whose voice and personality are irresistible, and who's a Montrealer too. Nick Cave, whom some see as a kind of heir to Cohen as a complex lyricist, isn't half bad either in singing Cohen's songs, in a second-tier cabaret singer sort of way; his performance of Cohen's most famous song, "Susanne,"which even I immediately recognized, is not unworthy. And this is one place where the interview and the concert come together effectively, since Cohen comments on the song's actual origins just before the performance is shown.

There ought to have been more of the flat tuneless singing of Leonard Cohen himself, which is probably the best way to experience his lyrics, without too much musical embroidery. Is it that unlike Townes Van Zandt's, Cohen's Sixties and Seventies performances are unfilmed? The other speakers about the man are as worshipful as the concertizers. They go so overboard in praising him that they could be talking about Socrates or Jesus. Bono is an eloquent speaker, but not a precise one.

This overblown praise is curiously inappropriate for someone as modest and ironic as Cohen -- and so well able to speak for himself. When songwriters are also poets or wits, like Bob Dylan or Tom Lehrer or Cohen, they don't need tuneful voices but what they do need is clarity of diction -- which they have, and the men in the concert, Jarvis Cocker, Nick Cave, Wainwright, have, but the women performers, including Wainwright's own sister, tend to lack. The ideal audience for this film is one that can approach it already armed with worshipful reverence. If you know noting about Leonard Cohen, the place to start would be not here, but with his own recordings, moving on to the more detailed bios available online and then perhaps (though I haven't been there) to his published writings, which include both poems and novels. Only after acquiring a thorough familiarity with Cohen's writing and singing would one want to hear elaborate covers of his songs.

Some viewers of this film find Antony's performance of "If It Be Your Will" awesome and deeply moving. I found it awkward, peculiar, and embarrassing. Not for the first time in the film, egocentric hamming overpowered the simple power of the song. And ironically, when the performances most excelled musically, they seemed to lose touch with the Leonard Cohen flavor of the songs.

The director, Lian Lunson, is a woman from Australia who's a good friend of Bono and who has done a film about Willie Nelson – and has the dubious honor of having composed the music for The Passion of the Christ. She has said Mel Gibson is a big fan of both Cohen and Nick Cave, and helped her get the film produced by Lion's Gate.

"Leonard Cohen: I'm Your Man" is an entertaining and informative tribute to the iconic singer-songwriter/poet.

Structuring the film as a mostly chronological autobiographical interview with Cohen, director Lian Lunson intersperses his personal family photographs and home movies with cover performances at a Sydney Opera House concert to illustrate themes in his life. While his experiences in New York City have been well-documented to fans, especially in his own songs, the depth of the influence of his Canadian heritage is a new insight. With only a humorous nod to his reputation as a "ladies man" (he sounds like every rock 'n' roller on VH-1 cheerfully admitting that he became a musician to pick up chicks), his spiritual explorations are well explained, including his Jewish background and a visit with his Zen mentor.

Unusual for this adulatory genre, Cohen is articulate about his songwriting as a painstaking craft in general, though only a couple of specific songs that we see intensely performed or the albums they are from are given more context, such as who "Suzanne" was and working with Phil Spector.

Throughout, the performers from Canada, the U.S., England, Ireland and Australia, male, female, straight and gay, discuss his songs and the impact they have had on their lives and art. While it is not mentioned until the very last credit, this 2005 concert is based on a packed 2003 concert in Brooklyn also produced by Hal Willner, as part of the Canadian Consulate's annual Canada Day sponsorship in Prospect Park, under the rubric "Came So Far For Beauty: An Evening of Songs by Leonard Cohen Under the Stars," which featured many of the same performers captured on stage here, including Rufus Wainwright, who relates surprising personal anecdotes about his formative connection with the Cohen family, his sister Martha Wainwright, his mother and aunt Kate and Anna McGarrigle, Nick Cave, the Handsome Family (Brett and Rennie Sparks), Teddy Thompson and his mother Linda Thompson, and Perla Batalla and Julie Christensen who have backed Cohen on his last two tours, with an all-star downtown NYC band led by the horns of Steve Bernstein and the master guitar of Mark Ribot.

Instead of Laurie Andersen at that magical night, added are Jarvis Cocker and Antony Hegarty (known respectively as the leader of the bands Pulp and Antony and the Johnsons, though that's never mentioned in the film) and Beth Orton. The performers are only identified in the opening and closing credits. While the concert footage nicely mixes close-ups and full band shots, it is more than half-way through the film before we hear any audience reaction, and we only see glimpses of the audience towards the end. Added climactically just to the film is Cohen singing with U2 at a small club.

The interviews are all talking heads, with the extensive Cohen conversations focusing on the planes of his face, particularly as the camera gazes at him adoringly during silences, including a lot of freeze frames. There is an annoying repetitive device of blurring with fades in and fades out, and theatrical focus on a back stage scrim of beads, accompanied by odd theremin-like sounds. This reinforces the somewhat cabaret interpretations of several of the performers that would seem more appropriate to a Tom Waits tribute and are very unlike the two tribute albums that have already been produced.

Cohen himself is so charismatic and his rumbling voice is so magisterial that he surmounts the visual gimmicks.

It was a great hybrid, fascinating snippets and tidbits. Allow the filmmaker her vision. I loved the performances, which are all endearingly flawed. Cohen's humility transcends luminosity. Antony's performance tapped like vigilantes in my ribcage. It is true that the interruptions were off-putting, but they can't be labeled as digressions inasmuch as Leonard Cohen was the true star. In fact, several people I spoke with commented that they would have preferred it simply be Cohen sung by Cohen, but I rebut: What about Cohen's legacy? His legacy ( his legends, his mythology) is just as important as the man himself. To see a variety of accomplished performers dare offer their renditions of Cohen is not only compelling, it intoxicates the senses and the imagination.

A must see for any Montrealer or admirer of LC or simply poetry.

Leonard Cohen is a master and this documentary is a fitting tribute to a legend. The audience at the Film Forum in New York sat in awed silence while the music washed though us and the lyrics cleansed our souls. Sometimes, the words cut painfully close to the bone, reminding us of our shared experience of being human.

Leonard Cohen goes to places most of us are unwilling to look at and brings back truth that no one can deny. Bono accurately describes it as going into the abyss and laughing at it. The artists performing his songs follow him there and brilliantly express the depth of his poetry set to music.

This is an outstanding film, documenting the poetic voice of our generation, and surely of many generations to come.