Although the market for documentaries isn’t robust, there’s always a desire for fact-based films about famous musicians. Most audiences look to documentaries as a means to affirm what they already know, or assume to have insight on. Music documentaries market themselves, as access to the back catalog of an artist is an easy method to connect with viewers. Often these films are meticulously-designed to portray their subjects as troubled geniuses who overcame the odds and made significant changes within the industry. The few films that don’t comply with an artist's estate rarely see the light of day; O.J. Made in America director Ezra Edelman's documentary on Prince was buried after it unveiled some unseemly details about the rock star’s creative process.
Becoming Led Zeppelin was a surprise box office hit earlier this year because Sony Pictures Classics had the novel idea to distribute the film on IMAX screens; even if it's little more than a collection of recording sessions, Becoming Led Zeppelin was a “must see” for the vast majority of the audience, who never got to see Robert Plant perform live. Alternatively, the HBO miniseries Billy Joel: And So It Goes was a public relations document for the singer-songwriter, as it suggested that one of the world’s best-selling artists was “underrated” as a serious musician. The four-hour docuseries took the time to explain the hidden meaning within Joel’s lyrics, but only briefly touched on his multiple divorces.
It’s Never Over, Jeff Buckley has the potential to take a similarly melodramatic approach, as the story of a sensitive artist who died young (30) is a blueprint to induce tears. Buckley had the benefit of being a musician who was instantly canonized, as his debut album Grace was celebrated as a classic prior to his death. However, It’s Never Over, Jeff Buckley isn’t a two-hour grieving session, nor is it an extended music video. Amy Berg’s impressive documentary dealt with the pressure that Buckley felt during his burgeoning career, and questioned why his loss hit so hard.
It’s Never Over, Jeff Buckley doesn’t wait to tackle the fascinating relationship between Buckley and his father, Tim Buckley. His father was a respected folk/jazz musician with several acclaimed records, but the documentary doesn’t mince words in its assessment of his parenting style. An absent father who only met his son once, Tim Buckley is used to form the thesis statement behind It’s Never Over, Jeff Buckley. The film’s argument is that while Buckley came to embody the soul of the 1990s alternative rock movement, he didn’t possess the traits that were thought to be essential to be a breakout star. In an attempt to defy his father, Buckley developed a sensitivity and openness that resonated with younger fans who saw themselves represented within his music.
It’s Never Over, Jeff Buckley is more interested in Buckley’s friends, family, and colleagues than with more famous talking heads. Had the film been released within a few years of Buckley’s death, these personal conversations may have felt manipulative and exploitative. However, time was beneficial, as those that knew Buckley were afforded the chance to reflect on how someone could leave a lasting legacy. Even if they’ve grown to become parents, mentors, and experts, Buckley’s forever immortal, forever be associated with youth.
Although any film that delved so deep into an artist’s personal life would likely be complimentary, It’s Never Over, Jeff Buckley is refreshingly devoid of the “hero worship” common in HBO’s docuseries. Any statements about Buckley’s brilliance are made by individuals, not the film itself; it’s evident that the tragic nature of Buckley’s short-lived career contributed to the bliss that’s associated with Grace. Nonetheless, It’s Never Over, Jeff Buckley is at its most heart-wrenching in the scenes that speculate about what Buckley could’ve done had he not drowned in Mississippi’s Wolf River. He’d already sung with Nusrat Fateh Ali Khan, earned the praise of David Bowie, was named as one of People’s “Most Beautiful People,” and reportedly inspired Thom Yorke to write “Fake Plastic Trees.” Would he have been able to sustain that trajectory for much longer?
It’s Never Over, Jeff Buckley doesn’t indulge in speculation on the nature of Buckley’s death, nor does it draw comparison with other artists who died at a young age. That’d be boring; recognition that horrific accidents occur is a more intellectually honest discussion point than any absurd conspiracies about curses. The title’s reference to the lyrics of “Last Goodbye” suggest that Berg pinpointed the moment in which his musicianship became intertwined with its tragic end.
It’s Never Over, Jeff Buckley has enough new information about Buckley’s artistic process, including previously unheard recording sessions, to endear it to those who were already convinced of his brilliance. However, the intersectionality between grief, depression, and defiance that Buckley came to represent is compelling for those that hadn’t given Grace a second thought since its debut. The film’s implication is that Buckley gained ownership of "Hallelujah," even if Leonard Cohen who wrote it; alternatively, “Lover, You Should Have Come Over” has been preserved by those that turned it into an anthem in response to Buckley’s death.