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| Released: |
2005 |
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| Genre: |
DOCUMENTARY
BIOPIC
MUSICAL
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| Origin: |
US |
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| Colour: |
C |
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| Length: |
75 |
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MIXED Reviews
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Whiteley's camera follows Kane to London, to a Dolls reunion gig at the 2004 Meltdown Festival. It soon becomes clear that, despite his born-again Mormonism and bitterness towards the enduringly successful Johansen, Arthur Kane has only ever wanted to turn the clock back to 1973. It's touching to see him to do just that, even for a single night. Unfortunately, Whiteley's feel for his subject far exceeds his passion for the music, best illustrated by a frankly weird recap of the climactic reunion gig set to choral church music. Dolls fans should steel for this disappointment, but also stick around for a treat during the credits.
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| (Matt McNally, BBCi) |
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A rock-umentary of rather limited interest about Arthur 'Killer' Kane, bass player in the influential glam-rock band the New York Dolls who were together in the early 1970s. On the point of achieving major success, they were brought down by an excess of sex, drugs and alcohol. Three of them died, two went on to modest individual success and Kane, after hitting rock bottom in Los Angeles, became a Mormon with a job at the sect's Family History Centre library.He comes across as a rather appealing figure with a resemblance, when seen full face, to the goofily charming William Hurt. In the film's climax, Kane gets his guitar from a pawnshop and reunites with his former colleagues at Morrissey's 2004 Meltdown Festival in London. Morrissey, Bob Geldof and others speak of the event as only slightly less important than the Second Coming.
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| (Philip French, Observer) |
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