Alcohol Rehab Oakland
Alcohol Rehab Oakland
The book that is the subject of this review is Metallica: This Monster Lives: THe Inside Story of the Hit Film Metallica: Some Kind of Monster, written by Joe Berlinger with Greg Milner and published in 2004. The subject of the book should be obvious by its various titles and subtitles, but it is an inside look at the film in question by one of the two directors of the project. Joe Berlinger, along with his partner Bruce Sinofsky, spent nearly two and a half years with the band Metallica, documenting their struggle to undergo therapy and repair their broken relationships, record a new album, and face their inner struggles.
Berlinger focuses on three main themes throughout the account: Metallica’s story, the story of the documentary film, and his own personal story . The book is told in a mostly chronological sequence, but many discussions necessitate a simultaneous looking forward and backward for the reader to understand the context. This is, of course, quite logical, as the film came together from Metallica’s story, which was put together by the directors months after the actual scenes were shot. A short look at each theme should give a potential reader a taste for what the book contains.
Metallica’s story in the film Some Kind of Monster, in a nutshell, is the story of an immensely popular rock band being shaken to its core as its bass player of fifteen years leaves, the members realize they have never taken the time to overcome the emotional and psychological walls they have built, and the struggle to “clean house,” all while employing the help of a full-time performance coach/therapist and trying to write and record a new album, and then beginning a world tour in support of said album.
In the book, Berlinger elaborates on many of the most important and moving scenes in the film, including the infamous confrontation between James and Lars soon after James returns from rehab for alcohol and other addictions, in which Lars actually shouts the F-word in James’ face. Other scenes that are examined closer in the book include Lars’ meeting with former guitarist Dave Mustaine, the Ramones cover songs and their context of Dee-Dee Ramone’s death, and the first gigs that Metallica played after getting back together, including the show on the back of a truck in a parking lot at an Oakland Raiders football game.
Many of these scenes were gems of Metallica documentary film making, but they did not fit the context of the movie’s story arc. With thousands of hours of film that the directors had to sift through, many scenes were pared down, intercut with each other, or simply dropped altogether. Berlinger also takes the reader through the “back end” part of the documentary, from its initial concept as a historical commercial piece, to the threat of it appearing as a mini-series on VH1 or Showtime, to its final product as a two hour and twenty minute documentary film. These themes were absent from the film itself, as its subject was Metallica, not the making of a documentary about Metallica, but Berlinger adds more interesting context to the making of the movie.
Berlinger also examines his film-making history and his relationship with his partner Sinofsky throughout the book. At the beginning of filming, the two were not on the best terms, and Berlinger was attempting to overcome the disgrace of being involved in the movie Blair Witch 2: Book of Shadows. As they become involved in watching Metallica sort through their personal and professional relationships, though, the two begin to gel as a team again, just as Metallica come together in the end to complete their album and begin a tour. Sinofsky offers a brief forward to the work, echoing the same problems the two were experiencing, but the very fact that he wrote such an endearing forward should go to prove that the two are on much better terms. They both attribute much of this conciliation to their work with and observance of Metallica.
For Metallica fans, one of the most intriguing aspects of the book is the use of various quotes and transcriptions of conversations among the members of Metallica, producer Bob Rock, and performance coach Phil Towle. Nearly every chapter opens with dialogue that sheds more light on the dynamics within the band culled from the thousands of hours of film that were shot for the movie. The final Appendix also contains snippets from interviews that Berlinger conducted with the band in regards to their feelings on the movie. They provide valuable insight as to their intentions to produce such as personal documentary, and its effect as a mirror that they can always look back to in the future.
Metallica: This Monster Lives provides the reader with a very personal inside account from one of the few people ever to get this close to the biggest heavy metal band in the world. It provides a unique perspective of the band as seen from the eyes of a professional documentary film maker, who focused his attention on the much larger picture of the band’s story through its fracture, near-dissolution, and renewal. For anyone who has ever sought to understand Metallica’s album St. Anger, the film Some Kind of Monster is absolutely essential, and for anyone who has seen the movie, Berlinger’s book is absolutely essential to understanding the structure and making of the film, as well as its context in the history of Metallica.
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Oakland, Ca: Drug and Alcohol Rehabilitation Center Southern California
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