This recent music doc/biopic offers an interesting comparison with 20 Feet From Stardom (US 2013). Whereas that film seemed to me to have wonderful material but lacked a clear focus, this documentary knew exactly what it was doing and achieved a great deal with the limited material available. I have to confess a strong sense of nostalgia watching the film about the brief career of Janis Joplin which lasted not much longer than four years. The performances on film look better now than I remembered from earlier films and I learned quite a bit more about the difficult life that Janis had – and the tragic circumstances of her death.
This Janis Joplin doc arrived in cinemas just a few months after Amy, the Amy Winehouse doc. Both films must have been in production at the same time so I don’t see one prompting the other. It is remarkable though that the ‘last acts’ of the two films feature the same event. Both young women died from an overdose at the age of 27 (Winehouse in 2011). Janis died in 1970 a few weeks after Jimi Hendrix and a few months before Jim Morrison. Both these young men were also 27. The big difference between the Joplin and Winehouse docs is that the latter includes lots of ‘found footage’ , including social media footage as well as ‘mainstream media’, whereas there are relatively few filmed recordings of Joplin apart from the three well-known festival films.
Janis Joplin was born in the Texas town of Port Arthur, close to the Louisiana border, in 1943 into a middle-class family. She was a misfit at school who discovered she could sing at 17. Her singing career started in Austin but didn’t really begin to develop until she moved to San Francisco in 1963. Even then she lasted only two years before returning to Port Arthur to ‘clean up her act’. She finally made it when she returned to San Francisco in 1966. Over the next four years she sang with three bands and recorded four LPs, the last one, ‘Pearl’, being released posthumously (a double LP of live recordings then appeared in 1972). Joplin was first signed as the singer for Big Brother & The Holding Company (first two LPs) and then became a solo artist backed by first the Kozmic Blues Band and then the Full Tilt Boogie Band. She died in her motel room during the recording of ‘Pearl’. The cause of death was an overdose of heroin, assumed to be accidental (the drug may have been more potent than she expected).
Three of Joplin’s festival performances at Monterey (1967), Woodstock (1970) and on the Festival Express train across Canada (1970) were filmed and subsequently appeared as theatrical documentaries, the first two a few months after the festival in question. The Festival Express material was released as a documentary film in 2003. Various live footage sequences appeared in a Canadian documentary, Janis in 1974 and this is the film I saw in the cinema in 1975. There are numerous other DVDs of her performances but only the four cinema features, I think. There was a fictional biopic The Rose (US 1979) directed by Mark Rydell. This commercially successful film is only loosely based on Joplin’s story (it was initially known as ‘The Pearl’) but was recognised as such by audiences (without taking anything away from Bette Midler’s star-making performance in the lead role).
The director of Janis: Little Girl Blue is Amy Berg, an experienced documentarist and director of at least one interesting-sounding fiction feature. The film also has a host of producers including Alex Gibney, known for high-profile docs such as Finding Fela (2014) and Steve Jobs: The Man in the Machine (2015). It’s not surprising then that this Janis doc works so well. Berg’s focus is clearly on Janis as a young woman finding her way in the world and this forms the narrative spine using the letters that Janis wrote home and a scrapbook of newspaper cuttings and still photos (which seem to jump out from the screen when set in the context of grainy home movie footage and 1960s TV news and features shot on 16mm). The authorial voice of Janis is provided very effectively by Chan Marshall (a.k.a. the singer Cat Power). Events back in Port Arthur are narrated by Janis’ younger siblings Laura and Michael and by one or two old schoolfriends. Events in San Francisco are covered by a slew of taking heads including friends and lovers and band members plus other media figures such as CBS CEO Clive Davis, talk show host Dick Cavett and documentary filmmaker D. A. Pennebaker (who made Monterey Pop and tells us how he deliberately sought out Cass Elliott in the audience because he knew about the rivalry between the LA and SF acts – Mama Cass was suitably impressed by Janis). The one recurring image in the film is the single line railway track, presumably seen from the Festival Express train as it moves across Canada. This occurs at regular intervals in the film, seemingly functioning as a marker for the change from one sequence to another. I’m not sure if the symbolic readings of this image are intentional but it might refer to the trajectory of the short life of Janis Joplin – straight down the line as if decreed by fate.
Many of these films about performers and celebrities seek out the flaws in character or attempt to find those responsible so that a life becomes more like a mystery in a film noir. I don’t think this happens with Little Girl Blue, which feels like a humanist drama. Most of those interviewed are appreciative about Janis’ talent and her dedication to her art. She was let down by the men in her life and the party girl was more often the lonely girl. The film doesn’t analyse the music but presents it (with access to rights agreed by Sony) in ways which enable us to understand why it generated such interest. It certainly sent me back to the performances (and I realised that I knew some of her ‘between songs’ tales almost by heart on the live album). It is this sense of the rapport Janis had with her audience that stands out. She seems to have been happiest on stage – and lonely when the show ended. There is also a strong feminist sub-text about a young woman whose confidence was undermined by the cruel jibes about her looks made by university students in Austin when she first began to perform. She must have welcomed the chance to take on the guise of the hippy mama who could dress as she pleased – partly as a release from the restraints of her conventional home background.
Coming from a town with its own Klu Klux Klan chapter, Janis would have been conscious of her other identity shift which involved discovering Bessie Smith and Aretha Franklin and being wowed by Otis Redding. Perhaps this where the film’s lack of deep analysis of Janis’ musical career is a weakness. I think you need to know a lot about American popular roots music in the 1960s and 1970s to understand the changes in the music Janis Joplin made and what she was most comfortable with.
After I’d seen this documentary, I came across a 2000 BBC documentary about Janis from the ‘Reputations’ series narrated by Tracy Macleod. At 48 minutes it is much shorter but actually much more informative about Janis’ life as a teenager in Port Arthur and her time in San Francisco. I think that I’ve also left out the Joplin parents in my account above. They didn’t take to the music Janis was producing or her lifestyle, but they were still supportive when she needed them. I recommend watching the shorter documentary (link below) in conjunction with Little Girl Blue.