Not radical. Totally exciting. Boss tunes. Iggy on many subjects. The Ashetons are badass. John Wayne shows up. Warhol Warholed. The Gospel According to Soupy Sales. Bitches be trippin'. Since time immemorial. The de rigueur Nico. Big brothers of the Motor City Five. Just say NO to the DNC, Chicago '68. Street walkin' cheetah w/ a heart full of napalm. Petering returns. Sad home in diddling dwindling futures.
Starring Jim Osterberg as Iggy Pop. 'Gimme Danger' doesn't offer a lot of new information about the Stooges and their legacy but was obviously made by a true fan. No one told Jarmusch that less is sometimes more as the film is often lost in collage, animation and rapid cuts that diminish the impact of intent not to mention the music. Pop is obviously a force of nature and makes a charming storyteller throughout.
feels like a glorified powerpoint presentation with collages and video inserts. it is almost like the personification of iggy's phrase 'took some mescaline and went to detroit to find an abandoned home for the band to live in'. it's raw and unpretentious. a thought that lingers is that every man who left a significant mark was not aware of what he's doing, but was marked by an ever hungry internal monster. be free.
It's not a mindblowing experience. Jim Jarmusch's signature is hardly felt. It has nothing new to say and misses some narrative opportunities, specially with the Asheton brothers. But still it fucking rocks, mostly because of Iggy and the archival footage. I'm glad I watched it at a theater, but this belongs to the TV.
Decent documentary about The Stooges. Obviously Iggy Pop is the most visible character, but it's not about him - it's about the whole band. Interviews combined with clips of all these weird things Iggy used to do on the stage.
2.5. Too much names, too much things, i was lost most of the time... And their music was pretty bad/average, if they marked some punk people (who most of all loved Velvet underground and The New York Dolls, the real punk initiators) it was surely for Iggy performances, not the sound.
The Stooges were something special, but Jarmusch is unable to communicate this or even put his own stamp on this formulaic piece. He picks up the seemingly prevalent music doc trend of using scrappy animation to relate band anecdotes - here that's just one of many problems in a film that doesn't have a distinctive tone. Unless they're made with true love and care (see: We Jam Econo), these films can be a bore.
The doco form is supremely elevated by Jarmusch behind the lens; the stock footage of old film, animation and archival blend is a stylistic treat. Ignore then that the film is a little aimless, and (intentionally?) chronicles the complacency of a radical figure. Gives some agency back to Pop from Trynka's narrative, at its best when sticking in the boot (haha Bowie), absent are more unforgivable sins.