Reportage foisonnant qui se veut complice avec son mythique personnage et qui y réussit parfaitement, filmé dans un superbe noir et blanc, par un cinéaste plus connu dans les milieux de la mode, pour ses créations comme photographe d'art et de métier, nous offrant avec bonheur un témoignage fasciné et fascinant d'une icône jazzique à l'implacable virtuosité finalement si fragile et si délicate. www.cinefiches.com
"Let's Get Lost" is a brilliant documentary film for several reasons. One of the truly effective aspects however is the cutting between the B&W stock footage of Baker in his prime, and the seamless cutting back to Baker in the 80's, broken yet charming, on death's door. The fact that everything is shot black and white 16mm, gives the movement between past and present a transcendent quality handled with great care.
Let's Get Lost is a reflective portrait of a gifted jazz musician who had his fair share of demons to deal with. Bruce Weber presents a very surreal black and white stylized film that showcases Chet Baker's thoughts, emotions and memories in a transparent glass case, culminating in a tragic yet beautiful catharsis of a life well-lived...
I saw this in 1989, and it is still probably the most powerful documentary I've ever seen. The photography is amazing, particularly the b/w infrared shots of palm trees. The music is phenomenal. The interviews with Baker himself about his drug use are heart-wrenching. All that talent combined with self-destruction is terrifying to hear him acknowledge. Yet so many of us chose to get lost, just like him.
By the time this film was made there was just enough left of Chet Baker to see what drew people to him. But there's much more of what he did to drive people mad. The film is like the man himself, cool, distant, confused and confusing. LGL is also an example of what black and white film gives close viewers--gray. Plenty of gray. LGL remains a classic of its kind.
great talent. but he was totally full of shit. what a waste. its a very very nice demystification of the junkie archetype. he was just a junkie. if you meet enough of them you realize there's nothing special or unique or interesting...its the same bullshit with every one of them. he was another. big deal. it was a little painful to repeatedly see people pretend his singing voice still sounded good. it didnt.
Full of cool and style with B&W film the perfect choice. The direction of the story and the interview questions tend to meander at times into not significant inertia. Chet Baker's vulnerability does reveal itself as his years of anesthetizing his emotions allow. Wished there would've been more questions related to his personal views and the process of his art,
As it's said in the film, you hear Chet's voice and trumpet and simply forget about the physical frailty the defined much of his adult life. The high contrast black-and-white photography seems like the perfect choice to capture the dichotomy between Chet Baker the musician and Chet Baker the man. One of the greatest portraits of jazz ever put on screen.
I saw this film several years ago and could not remember the director after I saw it. One day I thought it was Bruce Beresford, the Australian director. Seeing it again, and as much as I love jazz and Chet Baker's music as part of jazz, from 2016, it is f'ed up, but from 1987, maybe not so, recalling other people like grandparents born in 1929 and their apparent coldness, masking gas ready to be set on fire...
Passionnant docu sur la vie du célèbre trompettiste et chanteur blanc Chet Baker qui défraya la chronique dans les années 50. Le film décrit l’itinéraire du musicien, de l’Oklahoma à la Californie, de New York à l’Europe. Famille, amis et musiciens du mouvement jazz de la Côte Ouest font partie du voyage et nous suivons le jazzman jusqu’en 1987, un an avant sa mort. Autre musique, autre rythme, Chet, un Grand.