Laurel Canyon is a very real place, but it comes off almost as a Brigadoon-style dream in the commemoration of the L.A. rock scene of the late ’60s and early ’70s that is director Alison Ellwood’s “Laurel Canyon.”
The first half the two-part docuseries on Epix, which premiered May 31, threw a spotlight onto the Byrds, Doors, Buffalo Springfield, Mamas and the Papas, Love, Frank Zappa and others who drove the counterculture in the years leading up to Woodstock, and how they were folksy neighbors in L.A.’s least urban enclave. In part 2, which bows Sunday night, Ellwood delves into the world of Jackson Browne, Joni Mitchell, Crosby Stills Nash & Young, Linda Ronstadt, the Flying Burrito Brothers and, of course, the nascent band that previously was the subject of her “History of the Eagles” doc.
Variety spoke with Ellwood between the twin premieres about the making of the ravishingly well-received doc.
The first half the two-part docuseries on Epix, which premiered May 31, threw a spotlight onto the Byrds, Doors, Buffalo Springfield, Mamas and the Papas, Love, Frank Zappa and others who drove the counterculture in the years leading up to Woodstock, and how they were folksy neighbors in L.A.’s least urban enclave. In part 2, which bows Sunday night, Ellwood delves into the world of Jackson Browne, Joni Mitchell, Crosby Stills Nash & Young, Linda Ronstadt, the Flying Burrito Brothers and, of course, the nascent band that previously was the subject of her “History of the Eagles” doc.
Variety spoke with Ellwood between the twin premieres about the making of the ravishingly well-received doc.
- 6/7/2020
- by Chris Willman
- Variety Film + TV
Occasionally a high-profile film or TV documentary arrives at just the right time to appear as if it were created to address the frustrations created by another high-profile documentary, however coincidental the timing. That’s certainly the case with Alison Ellwood’s “Laurel Canyon,” a feature-length doc about the Los Angeles rock scene of the ‘60s and ‘70s that’s airing as a two-parter on Epix on May 31 and June 7. It’s not exactly an “answer song” to “Echo in the Canyon,” a much-debated 2018 theatrical release that covered a lot of the same ground, but it does address a few important questions left hanging by its predecessor. Like: “Where the hell was Joni Mitchell?” She’s in this one — there are two shots of her within the first minute of the credit sequence, to immediately reassure us there will be ladies of, and in, the canyon this time around.
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- 5/31/2020
- by Chris Willman
- Variety Film + TV
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