By going granular, the film draws a more humanized portrait of the boy who became a rap king. The details are in the contours: jazz performer Donald Harrison describing how Biggie learned to rap in the style of a bebop drum solo Big’s musician uncle Dave Wallace recalling a young Biggie’s dancehall awakening in scenes filmed in Trelawny, Jamaica his mom, Voletta Wallace, on how Biggie’s father abandoned them. A bulk of the film charts Biggie Smalls’ pre-fame trajectory, using rare archival footage and family interviews alongside maps of the rapper’s now-gentrified stomping grounds in Bed-Stuy, Brooklyn to emphasize how community shapes a child’s worldview. Biggie: I Got a Story to Tell dropped this past March, nearly 25 years after Biggie’s death, and yet the documentary offers something new: a distinctly localized view of how a legend popped beyond his street corners and even his own imagination. But often, the best way to illuminate a star is to glimpse back to the era before they became a giant. Not for the casual fan, Get Back is as good as content dumps get.Ĭountless films have contemplated the art and mystery behind the late Notorious B.I.G. You see Paul’s taskmaster energy, Ringo’s supreme goodness, George’s unmissable style, and John’s need to goof off, but most of all you get a sense of how they really interacted with one another at the worst of times. You see the origins of the ugly “Yoko broke up the Beatles” rumor in parts where Paul is clearly wounded by John not wanting to write together anymore, mixed with the reality that Yoko was probably just mounting a performance art project, and George was justified in quitting first. Across three parts totaling eight hours, the guy best known for making Lord of the Rings wades through Hogg’s original footage to show us that actually, the Beatles were still friends at the end. Peter Jackson’s Get Back is the largest piece since the sprawling Beatles Anthology project, both because it’s not filtered through the surviving members’ memories and because it essentially debunks a key document of the Beatles breakup lore: Michael Lindsay-Hogg’s rare, tense 1970 film on the sessions behind Let It Be, the final Beatles release, and the band’s last live performance. How it ended has always been of some fascination, and every decade or so there is some new piece of the Beatles puzzle revealed that brings us closer to the truth. “We want the viewers to leave the cinema like they’ve just stepped off a roller-coaster.The Beatles: Get Back / McCartney 3, 2, 1Īdmit it: the myth of the Beatles as the greatest band in the world was cemented by their breakup-they never had a chance to suck. Dark at times, strong changes of pace, it will be a visual assault too, stylistically striking, contemporary and challenging,” said Dugdale, who has directed documentaries and concert films for artists including, Adele, The Rolling Stones, Coldplay, Ed Sheehan, The Prodigy and Paul McCartney. Production is expected to start this Spring. Pulse Films’ Thomas Benski, Marisa Clifford and Sam Bridger will produce alongside Howlett, Maxim and band co-manager John Fairs in the role of executive producer. This film will be made with the same integrity that our music: uncompromising, raw and honest. “Or simply, a story of brothers on a mission to make noise, to ignite the people’s soul and blow-up sound systems worldwide, that’s fucking what. “It’s a story of the chaotic and troubled journey of our gang, our band, the people’s band, The Prodigy,” they added. “After the devastating passing of our brother Keef in 2019, the time feels right for us to tell the story of our band, all of it, the whole nine,” the two said.
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Howlett and Maxim said that the film - which will combine archive footage, animation and first-hand testimonies - was dedicated to their late friend. Success, international fame, fortune, addiction, fighting and chaos would almost tear the band apart, but The Prodigy stayed together and continued writing music and touring until the tragic death of their iconic wild-haired frontman Keith Flint in 2019. Singles such as “Firestarter” and “Breathe” - taken from their third album, 1997’s The Fat of the Land, which hit the top spot in the Billboard 200 - would help push them into the mainstream and give them a huge global audience.
The Prodigy would become one of the biggest British bands of the 1990s, selling an estimated 30 million records worldwide.
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