AUSTIN 2011: TREATMENT

Leonard (Joshua Leonard) in Treatment.

Abusing the systems

By Don Simpson

Leonard (Joshua Leonard) has a pitch for a new screenplay, but Nelson (Sean Nelson) -- the trust fund roommate from whom Leonard parasitically freeloads -- wants nothing to do with his genius zeitgeist ideas. Leonard insists that his financially-focused idea is especially meaningful at this particular juncture in time; but still, Nelson does not want to listen. Then, on one fateful night, Leonard is hanging out at a dive bar when Gregg D (Ross Partridge) -- a narcissistic (“You say narcissist, I say carbon-based life form”) A-list action film star who Leonard wants to play the lead in the new script -- stumbles in the front door. Leonard follows Gregg D into the men’s restroom, Gregg D pisses on his leg, and the rest is history… Well, not really. Though Gregg D promises some face-time with Leonard (that is, after he washes the piss from his pant leg), Gregg D vanishes from the premises by the time Leonard emerges from the restroom cocksure and piss-free.

It turns out that Gregg D left the bar in order to check himself into Wingspan -- a $10,000 per week drug and alcohol rehabilitation center that looks and acts like a luxury spa and resort. Leonard refuses to believe that his encounter with Gregg D was anything less than the hands of fate instructing him that he must work with Gregg D on this project, so he develops the bright idea to fake drug addiction in order to be admitted to Wingspan. Now if Leonard can just convince Nelson of his genius plan, because Nelson is going to have to con the executor of his trust fund -- his snooty older brother (John Hodgman) -- into giving him an advance payout in order to fund Wingspan’s hefty weekly fee.

It is almost as easy as flashing ten thousand buckaroos at the front door and Leonard successfully checks himself into Wingspan. Leonard might not have any real addictions when he enters the facility, but soon he is all hopped up on pills that are sold to him in bulk by a fellow patient, Franny (Brie Larson). Franny, a teenage daughter of “industry types” on her sixth return visit to rehab, is quite possibly modeled after Lindsay Lohan as much as Gregg D seems to be a fictional representation of Charlie Sheen. 

To say this film touches the zeitgeist is an understatement. In this capacity, Treatment functions as a diatribe about the sheer preponderance of reasons why many celebrities cannot recover from addiction in luxury facilities. For one, Wingspan is a pampering vacation resort that cares about profitability above all else; they benefit from repeat and long-term customers, therefore quick and permanent recovery does not factor into their equation. The blame is not one-sided however, the patients at Wingspan are much more interested in the comfort of extravagances than recovery. Leonard soon finds himself facing the legitimacy of “The Beast” as well as the age-old existential dilemma of whether to choose art or money (or as Gregg D so eloquently puts it: “Do you feel it in your heart or in your sack?”). Sadly enough, Leonard is probably better at making excuses than creating art.

DVD REVIEW: BRIAN ENO 1971-1977

The cover for Brian Eno 1971-1977: The Man Who Fell to Earth.

Brain One

By Don Simpson

Brian Eno 1971-1977: The Man Who Fell To Earth is, surprisingly enough, the first documentary film produced about, but not authorized or sanctioned by, Brian Peter George St. John le Baptiste de la Salle Eno, otherwise known as Brian Eno, or simply just Eno. The documentary captures what are arguably the most important years of Eno’s fruitful career in 154 minutes. This would be 60 minutes too long for most music documentaries, but considering Eno’s countless seminal contributions to music as a musician, arranger, producer, innovator and theorist during those eight years, even 154 minutes seems all too brief of an overview. For better or worse, Eno is probably best known today for his production duties for U2 and Coldplay. The purpose of Brian Eno 1971-1977: The Man Who Fell To Earth is to school the uniformed on Eno’s golden years.

Eno studied at art school and considered himself to be a non-musician when he joined Roxy Music as their keyboards and synthesizers player in the early 1970s. As with everything else he touched from here on out, Eno’s unique influence, otherwise known as “treatments” or "Enossification," on Roxy Music’s first two albums -- Roxy Music (1972) and For Your Pleasure (1973) -- is undeniable.

After one too many clashes with Roxy Music frontman Brian Ferry, Eno began a solo career releasing four groundbreaking “vocal” albums (all of which would be “desert island” picks for me): Here Come the Warm Jets (1974), Taking Tiger Mountain (By Strategy) (1974), Another Green World (1975) and Before and After Science (1977). Eno also began releasing instrumental albums, which eventually became his forte as a solo artist, such as Discreet Music (1975) and Ambient 1/Music for Airports (1978), thus laying the groundwork for ambient music.

Eno simultaneously began involving himself in many collaborative projects such as No Pussyfooting (1973) and Evening Star (1975) with Robert Fripp (King Crimson); The Lamb Lies Down on Broadway (1974) with Genesis; End (1974) with Nico (Velvet Underground); Lady June's Linguistic Leprosy (1974) with Kevin Ayers (Soft Machine) and poet June Campbell Cramer; Diamond Head (1975) and Listen Now (1977) with Phil Manzanera (Roxy Music); Fear (1974), Slow Dazzle (1975) and Helen of Troy (1975) with John Cale (Velvet Underground); Cluster & Eno (1977) with Cluster; and Low (1977) and "Heroes" (1977) with David Bowie. Also by the close of 1977, Eno had produced Ultravox’s Ultravox!, Talking Heads’ More Songs About Buildings and Food and Devo’s debut Q: Are We Not Men? A: We Are Devo!.

And that is -- literally -- only about half of what Eno did between 1971 and 1977. Brian Eno 1971-1977: The Man Who Fell To Earth touches upon even more Eno-related projects than I just did, dedicating a few minutes to each release and spending a bit more time on the major milestones in Eno’s career. Archive footage of live performances and studio recording sessions is interspersed amongst interviews with music journalists, colleagues, collaborators and friends; and of course there is a healthy dose of Eno’s music (most of which is matched with visual accompaniment).

Eno is debatably one of the most influential individuals to have ever worked in the music industry. As one of the more innovative musicians and producers in the history of rock music, no matter what role Eno plays during the recording of a song, he approaches the studio as a painter approaches a blank canvas. His specialty is adding more dimensions to the music, highlighting aspects of the song structure to make it stand out more, while morphing other aspects in order to blur them into the background. Everything Eno has touched during his 40+ year career has been gold to my ears.  

Now available on DVD, Brian Eno 1971-1977: The Man Who Fell To Earth suitably represents Eno’s genius, though I would argue that his golden years continued through the 1981 release of his collaboration with David Byrne, My Life in the Bush of Ghosts.