4 stars out of 5
Like many in my general age range (mesozoic), my first encounter with the band Sparks was their semi-hit collaboration with the Go-Go’s Jane Wiedlin, “Cool Places,” in heavy rotation on MTV in 1983. For many that would indeed prove to be the only encounter. But we, the proud and shamed music nerds, carry a delightful burden, uncovering and rediscovering all that is worthy yet shunned. The name Sparks and of brothers Russell and Ron Mael would pop up with some regularity in British music magazines I’d read. I would stumble across their albums filed under Miscellaneous S. In the current millennium, I’d note glowing reviews of releases Lil’ Beethoven and Hello Young Lovers in obscure publications and see those albums earn shelf space in independent stores. They teamed up with downside-of-their-career alternative stars Franz Ferdinand. When the happenin’ young band A Giant Dog covered Sparks’ “Angst in my Pants,” I finally broke down and purchased a Best of Sparks compilation.
And now there was a movie to see. And not one of those cheap little music docs you discovered while flipping through Prime Video or Hulu in the darkest days of the pandemic. This is a THEATRICAL RELEASE with a big-name director, Edgar Wright. (Um, Baby Driver? Shaun of the Dead? Heard of him?) And yes, maybe it will be the same batch of music nerds who go to see this, but maybe just maybe if you’re a bit more into music than your idiot neighbor, you’ll check this out, and it will be worth your while.
Let me throw some names at you, producers who’ve worked with Sparks. Todd Rundgren. Tony Visconti. Giorgio Moroder. These are not hacks! They appear in the movie and say nice things about Sparks. But don’t fret, this is not 2.5 hours of talking heads. Wright knows what he’s doing, and mixes in animation and humor and for the longest time, I sat there smiling. Why can’t more documentarians realize that they’re allowed to be entertaining? (But don’t get too entertaining. We still want careful, sober research. OK you know what, forget I said anything.)
The Mael brothers are old enough to have been inspired by the birth of rock ’n roll, so they indeed span the Entire History of Modern Music. As the ’60s become the ’70s and ’80s and ’90s and whatever’s happened since, we see Sparks evolve yet never really attempt to adjust. There is no pandering to modern trends. When a 1980s label exec told them to make music you can dance to, they put out a snarky single called “Music You Can Dance To.” And were promptly dropped from the label.
Lots of familiar faces show up on-screen to praise Sparks: Mike Myers, Beck, Jason Schwartzman, John Taylor and Nick Rhodes, etc. Am not sure we needed the opinions of Patton Oswalt, Jake Fogelnest, and some lesser comedic lights. (Even trusty Fred Armisen doesn’t have much to contribute.)
What we end up with is a story of perseverance and nonstop creativity. If the documentary lacks the too-easy drama of a Behind the Music, it’s because there are no sibling-screaming breakups, no in-and-out stints in rehab, etc. Sparks just keep going. I learned an awful lot from this movie, perhaps most importantly for me how hilarious and sharp Ron Mael’s lyrics are. Will have to listen to these songs a little more closely, even when it’s music you can dance to.
Jack Silbert, curator