I can't recall the last time I watched a film from beginning to end without taking a break or even thinking of taking a break. And this has nothing to do with the quality of the ultimate product, although the film made me appreciate "We Are the World" far more than I did at the time of its creation. The experience of seeing how this event was created, assembled and carried out was mesmerizing, engrossing and tremendously moving.
The film enlarged, exponentially, my knowledge and understanding of the individuals who participated in creating the song and video. For example, I appreciate, for the first time, the scope of Lionel Ritchie's talent, which extends far beyond singing. Wrangling pop stars is more difficult than herding house cats, but Ritchie proved to be a master of the art. He was the film's star, with Stevie Wonder and Quincy Jones close behind. The scenes showing Stevie's interactions with Ray Charles and Bob Dylan were, at the same time, hilarious and moving.
The film also enhanced my appreciation of the level of talent that participated in the project. As a contemporary of most of the participants, I realize now that they were a lot more talented than I might have thought back in the 1980s.
From a technical standpoint, condensing a ten-hour all night recording session into the last hour of a ninety minute film was no mean feat. The editing of tons of archival material into a coherent narrative was masterful. If Netflix can mount more retrospective documentaries of similar events from the late twentieth century, I would welcome the endeavor.
If I have one criticism, it is that I wanted to know more about the selection process, about the artists who elected not to participate, and about the one, Waylon Jennings, who walked out. Madonna was mentioned once. And maybe Waylon was there because he lost a bet to his pal Willie, and of course Prince was Prince. But Waylon and Willie were the only representatives of a genre that IS music to millions of Americans. Were any others asked?
But on the whole, the film was an Oscar level documentary and should be recognized as such.
The film enlarged, exponentially, my knowledge and understanding of the individuals who participated in creating the song and video. For example, I appreciate, for the first time, the scope of Lionel Ritchie's talent, which extends far beyond singing. Wrangling pop stars is more difficult than herding house cats, but Ritchie proved to be a master of the art. He was the film's star, with Stevie Wonder and Quincy Jones close behind. The scenes showing Stevie's interactions with Ray Charles and Bob Dylan were, at the same time, hilarious and moving.
The film also enhanced my appreciation of the level of talent that participated in the project. As a contemporary of most of the participants, I realize now that they were a lot more talented than I might have thought back in the 1980s.
From a technical standpoint, condensing a ten-hour all night recording session into the last hour of a ninety minute film was no mean feat. The editing of tons of archival material into a coherent narrative was masterful. If Netflix can mount more retrospective documentaries of similar events from the late twentieth century, I would welcome the endeavor.
If I have one criticism, it is that I wanted to know more about the selection process, about the artists who elected not to participate, and about the one, Waylon Jennings, who walked out. Madonna was mentioned once. And maybe Waylon was there because he lost a bet to his pal Willie, and of course Prince was Prince. But Waylon and Willie were the only representatives of a genre that IS music to millions of Americans. Were any others asked?
But on the whole, the film was an Oscar level documentary and should be recognized as such.