It happened to be the 20th anniversary of Elliott Smith's self- titled that I watched Nickolas Dylan Rossi's portrait of the beloved singer-songwriter whose talents were taken far too soon from this earth. Elliott Smith was one of the finest lyricist and delivered his gut wrenching lyrics in a quivering, whispery fashion. Unfortunately, his career was tragically cut short at the age of 34, but Nickolas Dylan Rossi has kept his legacy alive in his new film, Heaven Adores You. Rossi's directorial debut, funded by Kickstarter, is an Elliott Smith fan's dream, as it is a celebration of the singer's career, full of unreleased material and insights into Smith's world.
The film itself is beautifully painful. Visually, Rossi accentuates Smith's journey from his emergence in the Portland music scene to his brush with super-stardom in New York and Los Angeles with magnificent images of the surrounding landscapes. Interviews with Smith helped delve into his almost reluctant popularity, as at one point he stated, he did interviews and played concerts merely to continue to write and record music, his passion. The interviews with colleagues and friends, on the other hand, served more as catharsis for them, as they were semi-insightful, but overall mostly unremarkable. The pain is there though, 12 years removed from Smith's demise, his presence is felt, again evoked from Rossi's images, specifically of the tributes around the famous Figure 8 wall.
Though it may have been sexy and appealing to show, the film's strength is the exclusion of the imprecise details that surround Smith's apparent suicide. The film serves as a tribute and introspection of Smith's talents and rise, rather than his flaws and fall.
Photographer, Autumn De Wilde, couldn't have concluded the film in a more excellent fashion by stating, Smith used "the words we couldn't find when we were sad." He was the voice of common misery and made even the most desperate, disparaging of times seem so beautiful.
The film itself is beautifully painful. Visually, Rossi accentuates Smith's journey from his emergence in the Portland music scene to his brush with super-stardom in New York and Los Angeles with magnificent images of the surrounding landscapes. Interviews with Smith helped delve into his almost reluctant popularity, as at one point he stated, he did interviews and played concerts merely to continue to write and record music, his passion. The interviews with colleagues and friends, on the other hand, served more as catharsis for them, as they were semi-insightful, but overall mostly unremarkable. The pain is there though, 12 years removed from Smith's demise, his presence is felt, again evoked from Rossi's images, specifically of the tributes around the famous Figure 8 wall.
Though it may have been sexy and appealing to show, the film's strength is the exclusion of the imprecise details that surround Smith's apparent suicide. The film serves as a tribute and introspection of Smith's talents and rise, rather than his flaws and fall.
Photographer, Autumn De Wilde, couldn't have concluded the film in a more excellent fashion by stating, Smith used "the words we couldn't find when we were sad." He was the voice of common misery and made even the most desperate, disparaging of times seem so beautiful.