“American Hardcore”
Director Paul Rachman
Sony Pictures
In the arena of documentary film, a filmmaker’s level of
involvement with his or her source material can be both a blessing
and a curse. Sometimes, a interest in a subject can lead to
exhaustive research and interviews that a less enthused individual
would not be able to secure. Yet it’s possible for a
filmmaker to be too involved with source material.
Paul Rachman’s documentary, “American
Hardcore,” which explores the American hardcore punk scene
between 1980-1986, falls into both camps, yet as the film trudges
on it unfortunately slides more toward the negative.
The film is based on a book of the same name by Steven Blush.
Both Blush and Rachman were involved with the hardcore scene in the
1980s, so they knew and were able to get interviews with countless
hardcore icons. Among these are Keith Morris of the Circle Jerks
and Ian MacKaye of both Minor Threat and Fugazi.
Where the film succeeds is in its set-up and exhaustive
chronicling of seemingly every major hardcore band. “American
Hardcore” kicks off with a hilarious look at life in America
in the 1980s and introduces the argument that Reagan-era politics
and social conservatism were a huge factor in the birth of hardcore
music.
Unfortunately, most of “American Hardcore”
doesn’t seem to be terribly concerned with arguments, instead
functioning as Rachman and Blush’s attempt to get every
single band into the film. It’s like they didn’t want
to leave a single person out, and this is especially evident during
the film’s exploration of different hardcore scenes.
One point that the film fails to discuss is the role of violence
in hardcore music. Specifically, how did it evolve into a
mosh-fest? Were bands encouraging violent behavior? Were they
sitting idly by? “American Hardcore” never tries to
tell us, instead opting to give every band their screen time.
While it would be nice if the film made stronger points, Rachman
and Blush should be commended for some of the footage they got a
hold of and integrate into the film. Bands and fans provided
bootleg footage of countless concerts on VHS, and the low quality
of the video lends an authenticity and aesthetic befitting of the
music chronicled.
“American Hardcore” may not answer many deep
questions, but there are few better meticulous accounts of the
genre available.