For fans of Elliott Smith, watching Lucky Three feels like visiting with an old friend that you haven’t seen in a while, all the while knowing that they’re going to leave you again, all too soon, and without saying goodbye. True to Jem Cohen’s filmmaking style, Lucky Three is neither a performance film nor a documentary. Its interest is not in narrative nor editorialization. If anything, Lucky Three is an intimate portraiture of Smith simply being, existing in his natural habitat of Portland’s late-autumn charcoal skies and rainy streets.
Category: Elliott Smith
Madeleine Peyroux :: Between The Bars
I reintroduced Madeleine Peyroux’s cover of Elliott Smith’s “Between The Bars” into my radio playlist last month. Found on Peyroux’s Careless Love LP, from 2004, the track exudes a haunting, maudlin, ambiance that feels entirely displaced from […]
Decade :: Elliott Smith, Figure 8 (2000)
What is it that makes us want to deconstruct art by units of time? Lists. We love making them. We love arguing over them. And here, on the verge of a new decade, we’re in […]