Permalink for Comment #1378502803 by cajuncook

, comment by cajuncook
cajuncook Beautiful review, you touched on many feelings I had last night but couldn't articulate cleanly and coherently without a few more viewings at least. The dichotomy in the film between Trey's unending laughter when surrounded by friends and strangers against the often melancholy solo scenes -- occasionally echoed within each of the family interviews -- was so striking.

The long linger when Trey is asking Eliza about her childhood and he claims he didn't really miss anything... only the day-to-day stuff... and she just stares back. Man. We all know Trey hasn't been a model father for the last 25 years in total, but I think that is what makes his story so incredibly human. It was easy to look up to him as a rock star when I was a teenager, and so much easier to look up to him as a personal hero now, for so many reasons. Everybody grows up and most of us made it to the other side of reckless adolescence okay, taking the bumps along the road as life lessons. Seeing those themes so clearly reflected in his own family life just strengthens the joy I get from seeing him happy on stage.

But you touch on a salient point at the end that we were able to see more of his off-stage persona, the depths of his personality than we ever could have before. He's always said that he feels the most open and comfortable on stage, but it wasn't until the last few years that his songwriting took such a directly personal tone, obviously exemplified now in GotF. Maybe in that context, to be able to bring his personal life directly into his creative process, that fuels a new sense of desire to never stop using music as an outlet for his emotions... and look at the vast gulf in style between GotF and Kasvot Vaxt, which were effectively written back to back. Two very different sides of a man that we saw two very different sides of in the film, both albums incredibly fitting to that. I hope we can continue to enjoy the fruits of his labor for a long time yet.


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