Twilightfa
Watch something else. There are very few redeeming qualities to this film.
Salubfoto
It's an amazing and heartbreaking story.
Portia Hilton
Blistering performances.
cheesecrop
Live Forever takes it's title from a 1990's song from the band Oasis, one of the premier English acts from the period 1991 - 1997, which is roughly the era this film hopes to chronicle. It does a fine job of highlighting the major players of the period, especially the bands Oasis and Blur.The problem here is that sometimes the film feels as though it is only the "Blur and Oasis Show". Other groups of the period, such as Supergrass, Elastica, Pulp, Suede, etc., are mentioned, but one sometimes has the feeling that they are perceived as supporting players to the big story. In addition, if you are not of a political bent, you may find the linking of the movement to future British Prime Minister Tony Blair to be a drag on the film. While it is relevant to what was going on, you may find yourself wishing for a few extra minutes of band footage, or footage of the audience of the times.In addition, you may be put off by the (quasi) American bashing of some of those being interviewed. In England, Britpop was king, but in America it skimmed the surface for the most part, which will make some of the claims of a worldwide phenomenon seem grandiose. Still, as a primer for those interested in discovering something new, this film is a solid place to start.
Ricky Roma
Liam Gallagher is a wonderful human being. You don't believe me? Just watch Live Forever and witness the Manchunian ape-boy respond to the interviewer calling him 'androgynous'. At first he's puzzled, but when the word is explained to him he wonders whether he's being called a girl. But then when this curious word is explained in even greater detail, he admits that yes, he is indeed a pretty boy. "I take care of me hair." What a guy.But even more endearing than this is when Liam is asked what the characteristics of a great rock band are. "'aving it," he replies. And then after a lengthy pause he continues, "And by us 'aving it, hopefully some other people will learn how to 'ave it." And as he says this, he turns to the camera and does a sly 'Bang, bang' with his fingers. Liam, can I give you a hug? But Liam isn't finished. Just when the dumb bastard couldn't get any more lovable he says that the S Club Juniors are: "Good little kids, man." I have no idea what goes on in that man's head, but the words he incoherently pukes out are pure gold.Further evidence of Liam's genius is in his reaction to 80s pop stars. "You ain't got nowt to say. You don't look like rock stars. You look like dicks in tights." And then to cap everything off, during the end titles, he tells a bizarre story of how he fought his brother as a child and came home with broken limbs and a shotgun over his shoulder(?!?). That's life on Planet Liam, I guess.But it says a lot for Britpop when a man of Liam's limited mental capacity became a cover boy. Here's a guy who can barely string a sentence together and who thought he was playing one night at Knebworth instead of two. It wasn't really a movement forged by insight and intelligence.Having said that, Jarvis Cocker does pop up to prove that not everyone involved was brain dead. And Noel Gallagher is good value, too. And although he seems to take himself far too seriously, Damon Albarn (when he decides to stop fiddling with his ukulele) has some reasonably intelligent thoughts to share as well. But having said all that, was the music any good? Well, like any scene, some of it was and some of it wasn't.Of the bands that are featured, I think the early Oasis stuff still holds up. It has tons of energy, and unlike Nirvana, there's no whining. But I have to say that I can't stand songs like 'Parklife' and 'Country House' (even 'Common People' is grating) – they sound to me like novelty records. And of course, while idiots like James Brown (not THE James Brown) were talking about the glory days, I couldn't help but think of bands like Dodgy and Menswear.But it's notable that almost all the more interesting bands of that era only get a brief mention. You hear a snatch of The Verve, you hear a few thoughts from 3D out of Massive Attack and Portishead is quickly referenced. And it's also worth noting that while various media figures talk about how big Oasis became, they never really were the biggest band in the world. If anything, Radiohead were bigger (they were the only British band of the era to crack the States). However, Radiohead only get a brief mention. (It's probably to their credit that they're never really associated with 'Britpop'.) And another band that only gets a brief mention is The Stone Roses; you'd think 'The Second Coming' never happened, even though everything else in the film pales in comparison. But thankfully the Roses ignored Britpop and produced a record that had more in common with Led Zeppelin than The Beatles, thus ensuring that music critics quickly wrote it off. But the band's influence is mentioned at the beginning of the film when Spike Island is referenced. And it's a shame that they weren't the ones to make it big. They were smarter than Oasis, they wrote better songs and they were better musicians. Indeed, Oasis are just Stone Roses Lite. I mean, as cocky Liam and Noel are, beneath it all they're quite respectable. Sure they swear a lot, but they constantly doff their cap at their favourite bands, appear on chat shows and play the game. The Roses on the other hand were little bastards. Their arrogance was through the roof. But they also had integrity. They certainly wouldn't have turned up at Downing Street and they certainly wouldn't have chugged Tony Blair's genitals at The Brits.And it's the whole sorry episode of Noel going to visit the new Prime Minister that shows how empty the Britpop movement was. It wasn't about rebellion, it was about new rock stars acting like old rock stars; as dangerous and rebellious as they want to be, they also want to be part of the establishment. And it was truly sickening to see Noel's mug on the New Labour magazine proclaiming that a speech Tony Blair gave made him cry. These were people we worshipped at the time…and they were f***wits! (Just as stupidly, Damon Albarn says he once thought that New Labour were actually interested in what he had to say.) But although Britpop was a superficial movement (we see lots of shots of Kate Moss, Naomi Campbell, Jo Guest and Loaded Magazine, and people like Damien Hurst are interviewed – wow, those were certainly halcyon days!) and the music wasn't as good as we all remember, it at least gave us Liam Gallagher, a man who is as dumb and blindly confident as all good rock stars should be. He certainly beats Chris 'Fair Trade' Martin and Tom 'Touchy-Feely Fat Boy' Chaplin.
CCS-CRITIC
7.5/10I thought that Live Forever was an excellent documentary capturing the phenomenon of the Britpop passage. It is worth noting that I think that even if you didn't get the whole Britpop experience it is still worth watching to try and understand exactly what the period of time tried to encapsulate. Dragging Britain from a period of being totally dormant, to generating great music and creating an aura of genuine invincibility.Live Forever features the obvious candidates that are Oasis and Blur as the battle for number one captured a nation, whilst also giving an analysis of movie culture and the feel good factor that took over Britain during those 2/3 years. Massive Attack were also undoubtedly another factor in the way that Britain seemed to transcend itself to another plain, and although many will be put off by some of the language used it is worth remembering that the laddish behaviour of that period was a factor that boosted the industry and re-ignited interest in British pop/rock.The documentary also takes perspectives from a political sense whilst also highlighting perhaps a more sinister undercurrent to Britpop and the way it was used by stragglers and then dumped once the period was over. Whatever your perspective, it made me feel alive and was more than happy to re-visit that golden few years where the music was on another level and the country was swept with the feel good factor. Nirvana was the catalyst for the whole period that saw the change, and I was more than happy to re-visit Cobain's angst ridden voice, Oasis' brilliance and the competition that was Blur.
davideo-2
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All CostsAs a documentary and study of how the British music scene evolved throughout the decade I was growing up in,the 90s,Live Forever is a nigh-on unmissable filmic experience,detailing all the music and events that shaped this unforgettable period,and ,for me at least,delivered an effective and affectionate piece of nostelgia.From the doped out Stone Roses gig at the start of the decade,to Oasis's What's the Story? (Morning Glory) becoming the fastest selling album of all time,the subsequent Blur vs. Oasis rivalry that ended up getting a mention on the News at Ten,Noel (but not Liam) Gallagher's invite to No.10 and,right toward the very end of the decade,the non-stop taking over of manufactured pop bands such as S Club 7,and their spin offs,er,S Club Juniors.And of course,other country/world shaping events such as the end of Thatcher's reign,Kurdt Cobain's suicide,Tony Blair being elected the new Prime Minister and the death of Princess Diana.All these important events are played out absorbingly to the distinctive,memorable soundtrack of the times.We get to hear from the singers who shaped the period,and their thoughts and feelings on what they thought of it and how it changed their lives.Blur are described as a band that epitomised the culture of lads who'd left school with no qualifications,were doomed to a future drawing the dole and who would only be likely to hang around in parks drinking cider all day,with melodies like Park Life,Girls and Boys and Country House.Their frontman Damon Alburn ends up coming across in real life as ultimately shy and undisclosing,in contrast to his band's rivals Oasis,whose frontmen the Gallagher brothers are infamously opinionated ond out-spoken.Noel has a big mouth on him,that's for sure,but he's without question the more diplomatic wing of the brothers Gallagher.Liam is a bit more articulate than usual here,but still comes across in his usual yobbish manner.Still,poetic justice is served up when he's made to look daft by not knowing the meaning to the term 'androgynous',and when he ultimately shoots himself in the foot in the end by singing the praises of,of all people,S Club Juniors.And Pulp frontman Jarvis Cocker appears to have become retiring and disillusioned in comparison to his hey-day of extroverted stage antics (not least the Michael Jackson incident).He provides some interesting commentary on how his music was inspired and how music shaped events during this period.The over-riding feeling throughout it all,however,is that the Brits were tired and felt patronised by all the overseas American music that was dominating the charts and how we wanted to show we could produce damn fine music of our own,thank you very much.And indeed we did.For anyone who has affectionate memories of or who grew up in this time,this is absolutely must see stuff.But even if you don't fall into either of these categories,it's still a well-researched,absorbing,insightful,thorough and funny experience.And thankfully (though undeniably weirdly) there's not a mention of the Spice Girls in it.****
