Her Smelljust finished a run at the Nightlight, and it brought me back to a couple of very late 80s/early 90s moments. More thoughts below:
I guess Moss (who I will watch in nearly anything these days) called this a passion project, and as such she must have listened to some of the bands of the 80s and 90s that this reminded me of. I saw L7, Babes in Toyland, and Hole in it, and Moss’s character Becky Something sure seems like a mix of Kat Bjelleland from BiT and Courtney Love.
I’ve listened to people describe the film as a fictional biopic, and if so only because it defies the generic expectations. Biopics in my mind tend to follow the VH1 format – lots of focus on the rise and success of the band, a relatively brief wallow in the break-up and nadir, and then a sometimes sort of forced redemption narrative that it finishes with.
Her Smell has almost nothing about the rise to fame – we see two or three songs played live and that’s it for the glory years, except for three or four home movie-type segments about collecting gold records and getting magazine covers and jokes about selling out.
We spend an inordinate amount of time on the fall, and we see Something in some pretty manic and frightening states. The camera also spends a lot of time on the reactions of those around her, and less on the bad girl of rock n roll misbehaving in ways that are fucking stereotypes at this point.
The redemption is also short, and full of anxiety and moments in which I for one thought she was going to blow it. The fact that the band doesn’t go back out for one more song made me happy – the encore-as-redemption-for-all-the-horrible-shit-I’ve-done-to-people theme is sort of played out I think.
There is also very little justification of her behavior, and even part of that justification is ridiculous, such as when Something tells her ex-husband that she dreamed they were part of a Native American tribe and he killed all the children and that’s why she was so horrible to him. He just stares at her, the only response that makes sense.
The film deliberately uses that scene to illustrate how tense the struggle to justify her own actions is, especially in contrast to moments when she says that she was horrible to people.
(I’m always a little weirded out by how much punk rock stars wanted to get married – it makes me proud, especially in light of the alpha male wannabe culture of the hippies.)
I think that if the film argues anything it argues that there is a fundamental difference in rock and roll stardom that comes from the female bands of the 90s, especially in contrast to the rise of the alt-rock movement that again was heavily male. Becky Something has to rely on her bandmates, even in the end, and they seem to depend on her for more than just a meal ticket.
She also at least in part relies on motherhood as a way to connect, even in her least lucid moments. She has clearly ingested the cultural attitudes towards being a mom enough to at least voice regret about missing time, and her big moment at the end comes not from the crowd adulation (which she has clearly enjoyed earlier in her career) but from the fact that her daughter comes running to her.