• printer friendly
• mail this article
• iPod format
• digg

Photo

Photo

Photo

“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.