Displaced by the Rubettes who appeared in their absence, Sparks finally appeared on the show the following week. 1 spot on the charts that week for their single “This Town Ain’t Big Enough For Both of Us”.
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They are rejected upon arrival to the TV studio by producer Robin Nash for not having the proper work visas, de-railing their potential No. Later, an animated version of the band is ready for their big break on Top of the Pops. We see an animation of Russell’s brain oozing out of his gaping head after he injures himself with a stage prop – the infamous mallet. There are some Beavis and Butthead moments. The actual Sparks brothers – Ron and Russell Mael – discuss their triumphs and pitfalls with grace and their usual oddball humor – laughing at themselves, their detractors and artists who copped their style and reaped rewards unavailable to Sparks, yet they maintain utmost decorum.Īll interviews (many surprising artists and celebrities included) are filmed in monochrome, interjected with humorous colorful animations illustrating some of the more ridiculous episodes in the world of Sparks (similar to what Jim Jarmusch did in Gimme Danger – his documentary on another un-loved, yet later appreciated band Iggy and the Stooges ). The car chase is replaced by Ron and Russell’s relentless pursuit of fame and acceptance, always elusive to them… until now! So many goodies are packed tightly into this fast-paced 2 ½ hours (I hear that a 3-hour version exists!) that it feels like mere minutes have gone by – like watching a thriller. Wright brings his unique filmic attributes to The Sparks Brothers in spades. He soundtracks them all with his favorite music and ours. the World, The World’s End…) have their own fans. Wright’s fast-paced films ( Shaun of the Dead, Hot Fuzz, Baby Driver, Scott Pilgrim vs. Sparks’ severely genre-swinging oeuvre propels the film. Their cinematic sound is influenced by early rock n’ roll, by classical music and by geniuses in other realms – from Gershwin to Bergman. Ron’s lyrics deliver dry social commentaries from inside their “all Sparks all the time” existence. Sparks fans are the ones who can handle it. Intellectual fun and playful artfulness send most brains into overdrive, to short-circuit. Sparks condense all of these elements into one song! Ron’s clever lyrics inject irony, humor and sarcasm. Most people enjoy a pretty love song, a hard rocker, a dance song or an opera. Ron and Russel Mael are brothers, bonded by their complementary dis-similarities, a shared musical brain and their utmost conviction to persuade everyone to think more reverently about what pop music can be. After spending decades myself as a lonely Sparks fan trying to share my passion for Ron and Russell Mael’s odd genius and joyful music – only to be met by grimaces, Wright’s film has illuminated the reason for our struggle to convert the masses Sparks are dead serious about fun.
As a lifelong fan and as their fan club president, I completely understand Edgar Wright’s mission to turn the world on to his favorite band. There is no need to convince me that Sparks are wonderful.
It premiered at the Sundance Film Festival last night. They will love the reverence of director Edgar Wright in the chronological inclusion of every one of Sparks’ 25 albums and the rollercoaster ride (pun intended) he takes us on – through fifty years of the band’s ups and downs. Fans will revel in the treasure of unseen archival photos and film footage. The Sparks Brothers film is a gift to us all.
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