Screen Scene: "Neil Young: Heart of God"

“Neil Young: Heart of Gold” Directed by Jonathan
Demme Paramount Classics

Perhaps the most famous quote in the history of rock
‘n’ roll is written in Kurt Cobain’s suicide
note: “It’s better to burn out than fade away.”
Yet Neil Young, that line’s aging author, has done neither.
Young has long been a torchbearer for his generation, with a
prolific creative output virtually unmatched by his struggling
peers. Bob Dylan may be the only ’60s musical icon still as
relevant in the present day, though his most recent projects
““ including Martin Scorsese’s documentary
“Don’t Look Back” and the first volume of his
memoirs ““ have been tributes to his fabled past. In contrast,
“Heart of Gold” is a film chronicling a pair of August
2005 concerts at the famous Ryman Auditorium in Nashville. Culled
from the best performances of the two shows, the film begins with
Young’s entire latest album, the country-influenced
“Prairie Wind.” Unlike the theatrical
“Greendale” tour of 2003, this is little more than
straight performance. Interspersed with often humorous dialogue
from Young, the film segues seamlessly through songs as new members
of the sizable on-stage band appear. The singer/songwriter is
joined on screen and stage by friends and family, including revered
country singer Emmylou Harris and Young’s wife Pegi, who
duets with him on “One of These Days.” Young is far
from a movie novice, having appeared in the landmark “The
Last Waltz” in 1978 and more recently as the subject of Jim
Jarmusch’s documentary “Year of the Horse.” Under
the pseudonym Bernard Shakey, he has worked on countless projects,
including directing the 1974 film “Journey Through the
Past” and producing “Heart of Gold.” As such,
Young and director Jonathan Demme have brought a specific vision to
this film, one of intimacy and warmth befitting the music. At
times, the close camera work becomes a little too intimate (one
long shot of the side of the singer’s face becomes almost
claustrophobic after a while), but otherwise the movie accomplishes
its goals. Playing at the former site of the Grand Ole Opry, Young
looks the country-western part in a suit and Stetson hat. Fans have
always loved his acoustic side, and the Ryman audience ““ on
the rare occasions it appears in the film ““ erupts in cheers
after songs such as “This Old Guitar.” That a Nashville
crowd embraces a song about Hank Williams’ guitar (played on
that very instrument) by a musician considered the godfather of
grunge is a testament to Young’s ability to excel in both
folk and rock. Most of all, “Heart of Gold” displays
Young’s unwavering intensity. He’s lost none of his
vocal ability or distinctive guitar playing over the years, and
whether accompanied by a full choir and a horn section or strumming
by himself, the film’s focus ““ as symbolized by a
close-up of his face while blurry violinists move in the background
– is clearly on Young. The film concludes with a single shot of the
musician by himself, playing his classic “The Old Laughing
Lady” to an empty auditorium. The Stetson lies on the ground:
Young has, quite literally, taken off his country hat. It’s a
winking quintessential Young gesture that demonstrates his easy wit
and personality, and a moment that caps off a series of
performances well worth the price of admission.

“”mdash; David Greenwald

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