Greetings again from the darkness. The often-barefooted Joan Baez absolutely built a legacy of activism and social consciousness through the civil rights movement, Vietnam protests, prison reform, environmental issues, and other causes, making her easy to admire. Her music made her rich and famous, and has left a mark and influenced many others This documentary was initially intended to cover her farewell tour in 2018 at age 78, and while it is structured around that tour, the three co-directors, Miri Navasky, Maeve O'Boyle, and Karen O'Connor, have ended up with an intimate look that covers more of Joan Baez the person, than Joan Baez the talented singer.
The film opens with a clip of a very young Joan performing. This is fitting because at age 18 she became an overnight sensation thanks to the Newport Festival and the cover of Time Magazine. Ms. Baez provides a great deal of personal insight for the film, and speaks to her three lives: a public life, a private life, and a secret life. The public life is Joan Baez the singer and activist. The private life is Joan's relationship with her sisters, Pauline and Mimi, and her secrets - too many of which are shared here - involve the therapy she has been involved with since she was 16 years old.
By 'too much', I am referring to the prolonged and detailed discussions about her mental illness, depression, and therapy sessions. In fact, the final product here feels like a therapy session for Joan. It's one thing to share the struggles in hopes that you can inspire others to get the help they need, but this one goes a step too far. Joan discusses the childhood abuse she and her sister "may" have suffered at the hands of her father. Mind you, she doesn't remember anything specific, but her therapist has made this scenario likely, so it has become a reality for Joan. While I fully support therapy, the idea of putting this on the table during this documentary is inexcusable to me.
Other segments are more befitting of the platform as Joan admits she was a bit lost after Vietnam because she no longer had a cause to support. Of course, the next few decades provided many opportunities for her, but the 'need a cause' comments provide insight into her persona ... as does the notebook she wrote at age 13 entitled, "What I Believe" ...an early indication that her observation skills were special. Hearing her speak of how Bob Dylan broke her heart is fascinating, especially as we note the painted portrait of him hanging over her piano - and the fact that she speaks of him frequently. She did meet her husband, journalist David Harris, while both were in jail, which has made for a fun story over the years, and we learn that their son Gabriel accompanied her on the final tour.
Somehow the filmmakers never mention Joan's performance at Woodstock, but we do get a clip of her presence at Martin Luther King's "Freedom" speech, and learn she was heavy into quaaludes for eight years. She discusses how being of half-Mexican descent impacted her life, and she's credited with leading the Peace Movement. The only issue with any of this is how deeply the film dives inside her head. Bringing her depression and mental struggles to the forefront is a valuable service, but dragging a deceased parent into this affects how we view Joan Baez and the film. Fare thee well, Joan. Fare thee well.
Opens in NYC theaters on October 6, 2023, and then other markets on October 13.
The film opens with a clip of a very young Joan performing. This is fitting because at age 18 she became an overnight sensation thanks to the Newport Festival and the cover of Time Magazine. Ms. Baez provides a great deal of personal insight for the film, and speaks to her three lives: a public life, a private life, and a secret life. The public life is Joan Baez the singer and activist. The private life is Joan's relationship with her sisters, Pauline and Mimi, and her secrets - too many of which are shared here - involve the therapy she has been involved with since she was 16 years old.
By 'too much', I am referring to the prolonged and detailed discussions about her mental illness, depression, and therapy sessions. In fact, the final product here feels like a therapy session for Joan. It's one thing to share the struggles in hopes that you can inspire others to get the help they need, but this one goes a step too far. Joan discusses the childhood abuse she and her sister "may" have suffered at the hands of her father. Mind you, she doesn't remember anything specific, but her therapist has made this scenario likely, so it has become a reality for Joan. While I fully support therapy, the idea of putting this on the table during this documentary is inexcusable to me.
Other segments are more befitting of the platform as Joan admits she was a bit lost after Vietnam because she no longer had a cause to support. Of course, the next few decades provided many opportunities for her, but the 'need a cause' comments provide insight into her persona ... as does the notebook she wrote at age 13 entitled, "What I Believe" ...an early indication that her observation skills were special. Hearing her speak of how Bob Dylan broke her heart is fascinating, especially as we note the painted portrait of him hanging over her piano - and the fact that she speaks of him frequently. She did meet her husband, journalist David Harris, while both were in jail, which has made for a fun story over the years, and we learn that their son Gabriel accompanied her on the final tour.
Somehow the filmmakers never mention Joan's performance at Woodstock, but we do get a clip of her presence at Martin Luther King's "Freedom" speech, and learn she was heavy into quaaludes for eight years. She discusses how being of half-Mexican descent impacted her life, and she's credited with leading the Peace Movement. The only issue with any of this is how deeply the film dives inside her head. Bringing her depression and mental struggles to the forefront is a valuable service, but dragging a deceased parent into this affects how we view Joan Baez and the film. Fare thee well, Joan. Fare thee well.
Opens in NYC theaters on October 6, 2023, and then other markets on October 13.