David Bromberg talks about his life and sings the blues in illuminating new documentary
NEW YORK’S DOCUMENTARY FESTIVAL: DAVID BROMBERG UNSUNG TREASURE (Beth Toni Kruvant, 2012)
SVA Theatre
333 West 23rd St. between Eighth & Ninth Aves.
Sunday, November 11, $16.50, 4:45
www.docnyc.net
www.goodfootageproductions.com
The delightful new documentary David Bromberg Unsung Treasure sings the well-deserved praises of a rather unusual character — a white, Jewish bluesman from ritzy Tarrytown, New York. For more than forty years, masterful guitarist and songwriter David Bromberg has been singing his entertaining brand of the blues and bluegrass, either solo, with his Big Band, or with the Angel Band. A consummate musician, engaging raconteur, and outstanding live performer, he trained with the Rev. Gary Davis before going on to play with such superstars as Bob Dylan, Jerry Garcia, George Harrison, Jerry Jeff Walker, and a litany of others. A big man with an ever-present beard, mustache, and glasses, Bromberg is an utterly charming figure, speaking honestly and openly about his life and career, often mentioning how deeply he was affected by the way he was raised and how that helped instill the blues in him. Beth Toni Kruvant (The Right to Be Wrong, Heart of Stone) traces his early years through wonderful archival footage and old photographs, then delves into his departure from playing music in the late 1980s and 1990s, when he and his wife, singer Nancy Josephson, moved to Wilmington, Delaware, where he established a well-respected violin-making business and worked tirelessly to help resuscitate the city. But in 2007, Bromberg began a comeback with the solo record Try Me One More Time, followed last year by Use Me, featuring collaborations with a diverse group of musicians, including Vince Gill, Dr. John, and Keb’ Mo’, who appear in the film and talk about the affable, engaging Bromberg with great affection. Unsung Treasure is indeed about an American unsung treasure, a gregarious, giving, and humble man who plays the blues like nobody’s business.
David Bromberg Unsung Treasure is screening November 11 at 4:45 at the SVA Theatre, with Kruvant and Bromberg in attendance, as part of DOC NYC, a weeklong celebration of nonfiction film at SVA and the IFC Center comprising more than seventy documentaries, along with panel discussions and master classes. Among the other music films are Artifact, about Jared Leto’s band, Thirty Seconds to Mars, and their battle with their record label; Drew DeNicola & Olivia Mori’s Big Star: Nothing Can Hurt Me, with Big Star member Jody Stephens on hand to talk about the highly influential band with the film’s directors and producer as well as record producer John Fry; Greg Whiteley’s New York Doll, about punk bassist turned Mormon librarian Arthur “Killer” Kane; and Andy Grieve and Lauren Lazin’s Can’t Stand Losing You, a look at the life and career of Police drummer Andy Summers, with Summers, Grieve, and producer Norman Golightly participating in a discussion.
Seán Ó Cualáín puts one of the most iconic photographs ever of New York City under the microscope in the interesting yet too often slipshod documentary Men at Lunch. In 1932, a photographer snapped a picture of eleven construction workers having lunch while sitting atop a girder on what would become the sixty-ninth floor of the RCA Building in Rockefeller Center. The men are casually talking, having a smoke, and holding white cardboard lunchboxes while dangling their feet some 850 feet in the air, a bustling city below them, Central Park sprawled out behind them. Narrated by Fionnula Flanagan (Ulysses, Waking Ned Devine), the film delves into who the men might be, attempts to figure out whether it was indeed Charles C. Ebbets who took the photo, and seeks to put the picture into the social and cultural context of the depression and the wave of immigration, focusing on the Irish (the film is an Irish production), many of whom went into the construction industry. “This is a photograph in which every element of photography and of New York City kind of come together with spectacular panache,” filmmaker Ric Burns says. But while Ó Cualáín employs captivating archival footage as he tries to solve the photograph’s many mysteries, he extends the focus too far, biting off more than he can chew in a mere seventy minutes, as a handful of talking heads and Niall Murphy’s text make grand statements about the human condition in the twentieth century that are too often a reach, then spends too much time with a pair of Irish characters who believe they are related to two of the men in the picture. Still, the part of the film that zeroes in on the taking of the photograph is absolutely fascinating. Men at Lunch is making its U.S. premiere at the DOC NYC festival November 10 at the SVA Theatre and November 14 at the IFC Center, with Ó Cualáín on hand at the first screening to talk about the film.
Craig Cataldo, also known as Craig Schwartz, is a New York icon. Better known as Radioman, he travels across the city on an old bicycle, wearing a boombox around his neck like a treasured jewel. The life of this eccentric character is now on view in the entertaining documentary Radioman. Although many might assume that Radioman is a crazy homeless drunk — something he did struggle with in the past — it turns out that Radioman is a beloved figure in the film world, appearing in more than one hundred films and television shows. He devotes his life to being an extra and hanging out on movie sets, where he converses with the stars and approaches his bit parts like they are starring roles. The documentary, directed by British filmmaker Mary Kerr, features a slew of celebrities singing the praises of Radioman, including George Clooney, Helen Mirren, Whoopi Goldberg, Tina Fey, Meryl Streep, Ron Howard, and, most philosophically, Josh Brolin and Robin Williams. Kerr follows Radio, as he’s known to his closer friends, as he does his thing on local film sets, discusses his childhood and the difficult time when he was arrested and hospitalized against his will, shows off his frighteningly cramped and bug-infested apartment, and travels to Hollywood to try to get into some Oscar parties. A gregarious, well-spoken, and occasionally crude fellow with a big, scraggly gray beard, Radioman, who looks much older than his sixty-one years, is like a giant old teddy bear that you just can’t get yourself to throw away because it means that much to you. Radioman is screening November 9 and 15 at the IFC Center, with Kerr and Radioman on hand to talk about the work, as part of DOC NYC, a weeklong celebration of nonfiction film at IFC and the SVA Theatre comprising more than seventy documentaries, along with panel discussions and master classes. Among the other highlights are Artifact, about Jared Leto’s band, Thirty Seconds to Mars, and their battle with their record label; Eddie Adams: Saigon ’68, which tells the story of the iconic photograph of a gun pointed at the head of a Vietnamese man; Informant, about activist and FBI mole Brandon Darby; and Plimpton! Starring George Plimpton as Himself, a look at the life and career of the beloved participatory journalist.
