Who Is Harry Nilsson? (And Why Is Everybody Talkin’ About Him?)
Harry Nilsson is, without a doubt, one of my favorite artists, of any era, of any genre, of all time. About four years ago, I read about a documentary in the works about his life, “Who Is Harry Nilsson? (And Why Is Everybody Talkin’ About Him)” but never heard anything more about it. Finally, Lorber Films is releasing this wonderful documentary in New York City on September 10th, followed by a run in Los Angeles, and then to the DVD market.
First, for those of you who aren’t familiar with Harry Nilsson, here’s a bit of trivia on his musical work (and why you’re probably already a fan). Nilsson was inspired to write “One,” (which went on to become a hit for Three Dog Night) as a piano ballad whose chords were inspired by the droning dial tone of the telephone on hold. He wrote the silly ditty “Coconut” (as in, “you put the lime in de coconut and drink ‘em both up”) which you might have wiggled to as a child. His biggest hit, which won him a Grammy was “Without You” which was penned by Badfinger’s Pete Ham and Tom Evans, and later covered by Mariah Carey. If you’ve seen Goodfellas, then you know “Jump Into The Fire,” resplendent in bad-ass drumming by Jim Gordon of Derek And The Dominos. Along with Bob Dylan, who wrote “Lay Lady Lay” for the film (which was not used…), he wrote “I Guess The Lord Must Be In New York City” as the theme for Midnight Cowboy. It wasn’t to be included in the film, but instead his recording of “Everybody’s Talkin’” (another Grammy winner for Nilsson, but not written by him) became the theme, and won an Oscar.
Who is Harry Nilsson is another piece of evidence that I am a traitor to this generation. I wish I were born in the 1940s. The people involved in this film encompass my version of an “American Idol” or “Musical Icon.” It was a treat to watch, to take a journey with someone whose music you definitely know, but unless you are a big time Nilsson Nerd like I, probably don’t know it was written by (or at times, not written by, but performed by) Harry Nilsson. Those interviewed for the documentary include Yoko Ono, Van Dyke Parks, Randy Newman, Brian Wilson, legendary producer Richard Perry, Micky Dolenz, Robin Williams, Terry Gilliam and Eric Idle. Friends, attorneys, family and his ex-wife were also interviewed. There are a wealth of photographs, home movies, archival footage and an oral autobiography he recorded with his wife, which serves as an occasional voice-over.
The film opens with Dustin Hoffman at a Comic Relief television special in 1994, mentioning his film, Midnight Cowboy, and with a humbled solemnity, announces that the singer of the iconic song associated with the film, Harry Nilsson, had died that day. It was a sucker-punch beginning that didn’t let up with the way Harry’s very famous friends and colleagues and family spoke of him throughout the nearly two-hour film. Another idol of mine, Randy Newman, said of Nilsson, “…he had an open mind, generous with praise, enthusiastic with stuff he liked…” Nilsson recorded an album of early Newman tracks, aptly named “Nilsson Sings Newman.” Newman called the album “a milestone in my life.”
The film delves a bit into Nilsson’s early years, his living in poverty in Bushwick, Brooklyn, single mother, absent father, formal schooling only through the ninth grade, his subsequent move to California to start over as a teenager. He found work at a movie theater and then a bank, before he had his break in songwriting, with The Monkees’ recording his tune, “Cuddly Toy.” His mother was an alcoholic, among other members of his family, and warned him that it was a family problem, and to take care with the drink. Friends and colleagues interviewed told of his turning up on their doorsteps, sometimes at four a.m., for an adventure, and that adventures could last days with unexpected twists and turns and drinks and substances.
Nilsson was described as “a big bunny with really sharp teeth.” Ex-wife Diane Nilsson spoke of her former husband with a straightforward, honest fondness; stating that he was terrified to perform and had the lowest self-esteem of anyone she had ever known.
Relationships, both personal and professional, shifted abruptly at times. Richard Perry, who produced “Nilsson Schmilsson,” recalled a tense afternoon meeting in which the two were having tea and began an argument over the direction of the album. Perry had agreed to produce the work on only one condition: that he be given control over what happens and the permission to steer the way the album was executed. When Perry reminded Nilsson of this provision, the response was a flippant, “Well, I lied.” They then raced in a taxi, late for a session, in which Nilsson was to record vocals on “Without You.” The result was a one-take slam-dunk, and the soaring, heartbreaking vocals that won a Grammy.
This documentary was, at times, incredibly difficult to watch. In one moment, bearing witness to one of the purest voices in pop music, gorgeous interpretation, clever songwriting, performances, stories and songs that touched lives. In another, it juxtaposes with the troubled mind of an addict, replete with destructive behavior, near abandonment of his son and repressed anger, blood on the microphone from singing on swollen, damaged vocal folds. There’s also plenty of desire for success, for new albums, for creative steps forward, the desire to have a pissing contest/friendship with John Lennon and binges both alcohol and drug related.
Nilsson and John Lennon were infamously kicked out of the Troubador in Los Angeles during The Smothers Brothers reunion show for being a bunch of heckling, drunken buffoons. The two had forged a friendship during Lennon’s break from New York City, (and from Yoko Ono) and Lennon produced Nilsson’s album, “Pussy Cats” during that time. The album’s title was a nod to how Angelenos’ would not have described the two of them as a collective.
It was endearing to learn of Nilsson and his wife Una’s romance, children and life together. The reminiscent stories of that time in the interviews with his friends and children, provided an emotional end to the film.
Coincidentally, the day of Nilsson’s funeral happened to also be the day of the famous 1994 Northridge earthquake, and his service was made more colorful by literal aftershocks. One of the last sentiments expressed in the film came from the late George Harrison. At the gravesite, Harrison suggested his friends and family sing one of his songs, “You’re Breaking My Heart.” The song, whose lyrics include, “You’re breaking my heart, you’re tearing it apart, so fuck you” was then sang at Nilsson’s grave. It was an unconventional ending, but one that so fit the person.
