Real to Reel screening - review - LOS WILD ONES by Elise Salomon
Fans of rockabilly will know that one of the reasons why rockabilly is still alive and well it is also because men like Reb Kennedy. Irish born Kennedy founded Wild Records, an independent record label to produce a certain kind of music that blends rockabilly and punk rock.
A man of strong will and passion for what he does, he also rejected or reluctantly accepted the dawning of the digital era that hit music with a big blow by constantly turning down the idea of a compromise with iTunes in order to keep printing music on vinyl. People who don’t buy the vinyl records don’t want our music was and still is his motto. After giving some background history on Kennedy and his label, we follow his everyday life as he produces the music, practically single-handedly runs his record label and helps friends out emotionally and financially.
This indeed shows that the label is like a big family, and this point is further strengthened by the fact that we get further insight on each individual that makes it, and especially the artists and musicians connected with it. The big truth about Los Wild Ones is that, despite the fact that its rockabilly themes that naturally follow it and usually represent the artificial feel of the culture, its driving force is music and humanity.
Nevertheless, it is not perfect. Modestly made and lacking a strong touch of a filmmaker, Salomon’s film feels like the pilot for a reality TV series. A good one at that, but not much more than that. Luckily, the film is enriched by some great contributions and interviews from friends and family that give it a more interesting biographical feel. However, even this aspect of the film is a tad bit overplayed, and the film feels too much like a blatant tribute where the melodrama takes over the music. Again, this is something that can be identified with television more so than with cinema.
Yet, there is one merit that this film cannot be denies. It’s hard to believe that anyone watching this film will not be intrigued and fascinated by the music that Kennedy and his gang make. If anything, this film might win Wild Records some new fans and introduce them to a new genre of music, broadening the audience’s musical horizons. And on the other hand, anyone that doesn’t come for the music will alternatively enjoy the human aspect of the storyline. So, in other words, despite the fact that it may be an above average documentary, there is something in Los Wild Ones to please everybody.
