Chris Costello
Steve Slaner
POL 4324—Politics and Documentary Film
8/16/00

Music: An Art of Persuasion

Music is power. It can move people in ways that no other medium can as it conjures up images and emotions from past experiences. It lingers in one’s mind as a constant reminder of a point in time or an event worth remembering. National anthems are written for the purpose of swelling up in their citizens a sense of pride, unity and accomplishment. Majestic hymns were written in the heat of battle to spur armies on to glory and victory. We see everywhere the use of music to convey an idea, bring an issue to the forefront and inspire one to action. Music when combined with the visual enhancement of film, can create a very effective platform for exposing the world’s most horrible injustice or praise the most beautiful act of compassion. I would like to draw a comparison between two documentary films that use music as the medium to convey social and political messages. This paper is an examination of the issues and concerns expressed by the producers of each film and how two different cinematic approaches are used to communicate political points of view equally as well to very different audiences.

Phil Joanou’s production of Paramount Pictures’, Rattle and Hum, is a spine-chilling “rockumentary” capturing the 1988 Joshua Tree tour of America, performed by the politically outspoken Irish rock band, U2. For the most part, with the exception of a few terse interviews with the band members and some sidetracks to various parts of the U.S., it is primarily live concert footage. The film lets the music speak and it does so on such issues as race, religion, and international politics with a raw “in your face” delivery. The atmosphere ranges from angry to majestic and a different mood is set for each song with a level of excitement that will typically appeal to a younger, idealistic audience.

Buena Vista Social Club, produced by Ry Cooder for Artisan Entertainment, is a film that examines the lives of several legends of the pre-Castro Cuban music scene as they prepare for a 1998 recording and international concert tour. Without mentioning anything regarding communism or the U.S. trade embargo, the film stands alone as a testimony to the spirit and strength of the Cuban people which will be explored later in this paper. In contrast to Rattle and Hum, this film uses subtle cinematography and very candid personal interviews to show how the conditions in Havana fail to undermine the spirit and vibrancy of the Cuban people. The mood of the film is very tranquil and fun as it mixes various interviews with musical performances, yet “the revolution” is ever present. Its nostalgic mood and music style combined with the advanced age and life experience of the musicians will have a strong appeal to an older and more mature audience.

To fully appreciate the impact of U2 and Rattle and Hum, one must be familiar with the band member’s environment. Dublin, Ireland is home to lead singer Paul Hewson (Bono), guitarist Dave Evans (The Edge), bassist Adam Clayton, and drummer Larry Mullen. Familiar with their country’s age old political and religious disunity and the violence associated with Northern Ireland’s struggle for independence from British rule, U2 has much to say about these and other issues. The international popularity of rock music aid them as they speak out to their fans with music against oppression, injustice, greed and war. The Joshua Tree album was what many believe to be U2’s landmark musical effort in art and social commentary after winning a Grammy Award for album of the year. This album and its associated Rattle and Hum concert tour and documentary also reflect the band’s fascination with and reaction to America and American music.

One of the opening scenes is actual rehearsal footage for I Still Haven’t Found What I’m Looking For, a song recorded with an energetic gospel choir in a Harlem church building. The moment is rich with raw excitement, freedom and joy as black and white come together to make music with an authentic gospel feel. An interesting scene follows where the bandmembers walk through the streets of Harlem and come across an old black man sitting on the sidewalk playing guitar and singing the blues. “The Edge” looks on and smiles as if he has meet an old friend. He sees the roots of his music in its purest form, without any artificial amplification or enhancement, stopping people in their tracks. This purity and simplicity provides is the kind of inspiration many musicians thrive on.

It is interesting to see the bond that U2 makes with R&B music, African Americans and black South Africans. The performance of Pride (In the Name of Love) pays a tribute to Martin Luther King, Jr. as the film rolls news footage of King speaking in the background. Angel of Harlem is a song about Billy Holiday, arguably one of the black greatest jazz singers ever. Recorded in Memphis, Tennessee with a full band and horn section, the song has the groove and spirit of an old 1960’s motown hit. Silver and Gold sings of the white exploitation of South African natural resources at the expense of black workers. The band also brings in the legendary blues player, B.B. King to perform When Love Comes to Town, a song about the redemptive power and forgiveness of Jesus Christ. I believe that the members of U2 can relate to the struggles that have plagued the African people for centuries. Being Irish, the band members, along with their ancestors, have also suffered from oppression. Though, maybe not as severe as slavery, the Irish dilemma throughout history has been one of having to fight for freedom and the recovery of national self esteem in the face of continued and unwarranted British intervention into Irish affairs. Sunday, Bloody Sunday, tells of a massacre of Irish demonstrators at the hands of armed British troops. To this day, the Irish have a world’s share of suffering.

The film also reflects the band’s fascination with all things American. The Rattle and Hum tour was the band’s discovery of American culture. They visit Elvis Presley’s mansion at Graceland and are inspired by “The King” and his contribution to their music. They also visit the blues clubs in Chicago, cruise Sunset Boulevard in Los Angeles, and visit Memphis, Tennessee, to record in the same sound studio as did Elvis and Jerry Lee Lewis. The band’s immersion into this country’s dress and culture help to endear them to their audiences as they sing on about The Mississippi, Route 66, and the Heartland. They also grab attention with Bullet the Blue Sky, a condemnation of greed and American foreign policy in El Salvador. This song mesmerizes its listeners as it flows like the soundtrack to dark thriller. One can “see those fighterplanes” as clearly as Bono can. With clever use of stage lighting and guitar sound effects, a message of the horrors of war is left clear in the minds of their young, image conscious audiences.

The film is shot mostly in grainy black and white, which I believe is very effective in showing the rough and spontaneous attitude of the film and the players. It ends with slick color footage, possibly symbolizing enlightenment and growth for the band and audience as well as they learn and share more about America and society as a whole.

Buena Vista Social Club takes a much more subtle approach to communicating its message. It is a film about the victory of the Cuban spirit as displayed through its rich culture and colorful characters, in the face of communism and economic sanctions. Musician and producer, Ry Cooder and director, Wim Wenders (who also worked with U2) have collaborated to create this enjoyable film that celebrates the gathering together of some of the greatest names in the history of Cuban music. Singer, Ibrahim Ferrer; concert pianist, Ruben Gonzáles; guitarist, Eliades Ochoa; singer, Omara Portuondo and Compay Segundo, who invented the “armonico”, are among the legendary performers who’s lives and loves are shared with the world.

The film is shot in 1996 on location in Havana, Cuba. As the production begins to take shape and cameras focus on the musicians and townspeople. Woven into the film, in a very clever and subtle manner, are images of vintage 1950’s American autos, the crumbling buildings, smatterings of Spanish graffiti and an occasional worn-out poster shouting the views of Che Guevara or Fidel Castro. The country is visibly affected by the U.S. policy toward Cuba and the trade embargo which has been in effect since 1960, after Fidel’s forces overthrew the Batista dictatorship a year earlier. The Castro regime’s inability to rebound after the collapse of the Soviet Union and subsequent loss of $6 billion in annual Soviet subsidies intensifies the nation’s economic crisis. Nevertheless, the people seem to radiate peace, joy and pride. They love their country and heritage. There is color and hope in their hearts and their music. It is very evident as they play their instruments and tell of their past. Many of the musicians are in their 70’s and 80’s and have lived during the pre-Castro era. They recall the glory of the original Buena Vista Social Club, long since gone, and the music that they played there. These people are unpretentious and grateful to be singing and playing music again thanks to Ry Cooder’s vision and desire to spotlight this extraordinary music.

Unlike the well equipped Rattle and Hum show, the rehearsal scenes in the hard-pressed recording studio show Cuba’s material deprivation with stripped down accommodations and bare bones technology. Yet, the music is played with such passion and purity that it rises above these limitations, making them irrelevant. The songs are filled with a joy that can be seen on everyone’s faces. These scenes can be compared to U2’s encounter with the poor street musician in Harlem... a joy that comes from simple human expression. In one of the most moving scenes in Buena Vista Social Club, the camera pans up an elaborate staircase to a large and beautiful ballroom as light piano music is playing in the background. The room seemed to be empty and my first thought was a sad one. I envisioned the incredible concert bands and festive social gatherings that must have filed this building in a time before the “revolution”, but now, a victim of “politics” and “economics”, I see a room that is empty and dead. I was happy to see, as the camera continued on, a large group of young ballet dancers moving to the music of Ruben Gonzáles who is seated at the piano. This film shows communist Cuba in a light that few people probably see. In contrast to the typical view constructed by anti-Communist propaganda—nations of mindless drones with contrived smiles, living dreary lives—this clip shows vibrant, youthful hope and happiness in the people, qualities that are indestructible in the face of “policy”.

I believe one of the messages that this film subliminally delivers is that the U.S. trade embargo against Cuba is archaic and useless in its attempt to bring down the government. The members of the communist party will always have their needs met one way or another, so they feel no pain and continue on. The anguish is passed on to the common people, but, as the graffiti in one of the final scenes states, “THE REVOLUTION IS ETERNAL”. Historically, as one dictatorship has continually given way to another, the people have always struggled to overcome their circumstances in order to enjoy life. In Buena Vista Social Club, art and music rule. Sellout concerts in Amsterdam and New York’s Carnegie Hall, are the film’s final victory.

The concert, itself is a masterpiece, conceived by a dreamer, as it brings the fun of Havana’s Buena Vista Social Club to life again after so many years. The show introduces the many different musicians and their songs in what amounts to a very intimate celebration of life that transcends poverty and prejudice. The music is captivating, passionate and skillfully executed. Even without the drama and high production of the Rattle and Hum shows, these musicians, with a humble stage presence, deliver an equally powerful presentation. In the end, a standing ovation for Ibrahim and the band is a poignant finale to the film as he looks out over the audience and, after all these forgotten years, feels the appreciation of his music and his life outside his native country. This is a moment when the performers and the listeners are one.

Comparing these two films makes it clear that music and the people who make it are very powerful and versatile tools in the art of communication and persuasion, regardless of their stylistic approach. As different styles appeal to different crowds, so a similar point of view can be conveyed through these varied approaches and have equal impact. Ideologies and politics are a battle to win the mind. Both of these films succeed, during the duration of their performances, to capture the mind and make it listen to the call for justice and decency in this world, if only for a moment. What the listeners do with the message is up to them.

Sources

©2007 Chris Costello. All rights reserved.