Mystify Michael Hutchence

Rated: MA15+Mystify Michael Hutchence

Directed by: Richard Lowenstein

Written by: Richard Lowenstein

Produced by: Maya Gnyp, John Battsek, Sue Murray, Mark Fennessy, Richard Lowenstein, Lynn-Maree Milburn, Andrew De Groot

Executive Producer: Maiken Baird

Music by: INXS, Michael Hutchence, Ollie Olsen, Max Q, Kylie Minogue & Nick Cave, Olafur Arnalds, Nils Frahm.

With a noted very special thank you to: Tiger Hutchence – Geldof.

Michael Hutchence: ‘The trouble is hanging on to a fixed point long enough to understand it.’

I grew up with INXS, clearly remembering watching Michael Hutchence on TV performing on stage at Wembley Stadium (leading to their album, Live Baby Live) and feeling something stir.

Like the rest of the world, I saw that Michael had that something.

What this documentary shows is that Michael wanted to be more than a pop star.  He wanted fame.  And he wanted to be an artist.

Usually I’m scribbling notes and at times drifting during a screening, thinking of a phrase to write.  But I was absorbed into this documentary because there was so much footage of Michael.  Those eyes.  That heart.

Director and writer, Richard Lowenstein knew INXS and Michael personally, directing most of their music videos and the film, Dogs in Space (1986) with Michael starring as the lead (and part of my, If you Haven’t Watched You’re in for a Treat, List).

Lowenstein notes, ‘There finally came a time when I felt that the hype had calmed down and enough time had passed for someone who had known him well and respected that relationship, to physically and emotionally tell a genuine and respectful chronicle of his life.

That’s when the interviews began.’

The documentary is made up of footage of Michael taken by family and friends and himself with voice-overs from those who were close to him – Kylie Minogue tries to explain their intimate relationship admitting it was exactly what it seemed, the dark and worldly Michael introducing Kylie to the sensory delights.

And we witness his relationship with super model Helena Christensen, as they gallivanted around the South of France, living the dream.

Early girlfriend and long-time close friend, Michele Bennett and Helena had never spoken publicly about Michael, until being interviewed for this film.

Michele Bennett, Kylie Minogue, Susie and Kell Hutchence (Michael’s parents), Tina Hutchence, Rhett Hutchence (sister and brother) and ‘Ghost Pictures have opened up their extensive archive of never-before-seen personal 35mm, 16mm and home video for this film. Many other informants and sources have supplied photographs, sound recordings and rare documents seen for first time.’

It was so easy to think Michael was just this superficial, sexy guy.  But the story of his life, in this documentary at least, depicts a sensitive dreamer who worked hard.  Who made the band INXS his family.

I thoroughly enjoyed seeing him alive and well in those early days, only to get my heart broken again by his ultimate suicide.  Yet, there’s answers here, which I appreciate as a fan.

Whether the film gives us insight into all that happened during Michael’s heady days, I’m not sure.  The band members weren’t given much of a voice but were shown alongside Michael, on stage, backstage.

What struck me was the revelation of the attack that occurred in 1992 in Copenhagen, when he was outside a pizza shop with Helena.  The traumatic brain injury (TBI) he suffered lead to a complete loss of his sense of smell and 90% of his sense of taste.  And he kept the injury a secret.

The later years of his life were buried in controversy after his relationship with Paula Yates became the London presses favourite topic.

All I remember from the time is the much-publicised divorce and custody battle Paula fought against Sir Bob Geldof, and the drug abuse of Paula and Michael.

Here, we’re shown the effect the controversy had on Michael while his condition took it’s toll, the symptoms from his TBI looking like the effects of drugs.

Michael says of life, ‘Sometimes it clicks and sometimes you’re fighting against nature.’

It was a pleasure to see, once again, the performance of Michael on stage and to see behind the scenes of this surprisingly shy man.

It’s a haunting documentary that satisfies the curiosity while breaking the heart.

Michael Hutchence: 1960 – 1997.

Westwood: Punk, Icon, Activist

Rated: MWestwood: Punk, Icon, Activist

Directed by: Lorna Tucker

Edited by: Paul Carlin

Produced by: Eleanor Emptage, Shirine Best, Nicole Stott, John Battsek

Starring: Vivivenne Westwood, Andreas Kronthaler, Kate Moss.

Throughout her long career, avant garde fashion designer and activist Vivienne Westwood has been a giant safety pin digging into the side of the British establishment.

From the first little backroom shop in the King’s Road that she shared with Malcolm McLaren selling records (him) and clothing (her), Westwood claims to have invented punk, with McLaren managing (or perhaps mismanaging) the Sex Pistols and Westwood responsible for the punk aesthetic.

She has often described herself as a woman on a mission and, in the 1970s, the mission was to confront the establishment through sex. Pronouncing England as the home of the flasher, Westwood designed a line of rubber wear for the office to sell from their shop now flagrantly rebranded SEX in huge, hot pink letters.

Her designs from that time onwards have become no less confrontational, from the 1976 Destroy tee shirt calling out the establishment as fascists to the 2003 show where she sent her male models down the runway wearing fake breasts over their polo necks. Believing that clothes are deeply emotional, Westwood creates clothing, ‘to face the world in a spectacular way’, as with supermodel Carla Bruni’s 1994 appearance on a Paris catwalk in a scanty faux fur thong. At last, a fitting riposte to the 1936 surrealist Object, the fur-lined teacup.

Despite the sensation her designs create, Westwood takes a very practical approach to design. As one of her assistants observes of Vivienne and partner Andreas Kronthaler’s collaboration, ‘They work with their hands, they work on the body, they have a rapport with the body’. Westwood has been making her own clothes from an early age, and her working class background probably goes some way to explaining the campaign of guerrilla warfare she has been waging against the establishment. Far from hiding torn edges and safety pins, Westwood features them as symbols of insubordination. She wants her clothes to ‘tell a story’, one spiked with mischief and defiance.

But there is an even more personal impetus underlying both Westwood’s designs and her activism. When she was nine, Westwood was transfixed and horrified by a painting of the Crucifixion. It was a seminal moment. Since then, it has become her mission, ‘To stop people doing terrible things to each other’. Wanting to change the world, she joined a Greenpeace expedition to the Arctic Circle. The environmental devastation she witnessed there left her traumatised. Over time, her mission has become ever more focussed, homing in on the financial establishment as, ‘The rotten financial system,’ and, ‘A hydra that is destroying us’.

Even so, this Designer of the Year (twice) who performs cartwheels on the catwalk has been struggling with a conundrum common to many underground artists. As the work gains recognition, it is at the same time being subsumed into the very establishment it is agitating against.

If fashion or popular culture interest you in any way this documentary is a must-see, and for the rest of us it’s a fascinating insight into a fiercely original spirit.

 

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