The Phoenix Network:
 
 
About  |  Advertise
Adult  |  Moonsigns  |  Band Guide  |  Blogs  |  In Pictures
 
Features  |  Reviews
FIND MOVIES
Find a Movie
Movie List
Loading ...
or
Find Theaters and Movie Times
or
Search Movies
Nominate-best-2010

Lost and found

Bruce Weber’s portrait of Chet Baker
By GERALD PEARY  |  January 22, 2008

080125_baker_main
LET’S GET LOST: Was it in Chet Baker’s style to jump out a window?

In February 1988, I took a break from the Berlin International Film Festival to hear the Chet Baker Quartet playing in a local club. The leather-skinned, hard-living trumpeter had his chops that night, but the cave-like basement club was in a fog from German cigarette smoke. Choking, I ankled before the second set.

I should have stayed on: several months later, on May 13, the 58-year-old Baker jumped, fell, or was pushed from a window in Amsterdam, landing dead on the sidewalk below. He had been active, playing jazz until the end but also appearing on camera in a documentary biography, Let’s Get Lost, that was made by Calvin-Klein-fashion-photographer-turned-filmmaker Bruce Weber. The posthumously released film was a smash, winning the Critics Prize at the 1988 Venice Film Festival. Twenty years later, Let’s Get Lost is getting a deserved second act, with a restored 35mm print screening at the Brattle Theatre January 25 through February 7.

I talked to Weber, a genial, roly-poly man wearing a Gypsy bandana, at the 1988 Toronto International Film Festival, where he showed up with his cameraman, Jeff Preiss, and an entourage of quasi-actors from the surreal, fictional interludes of Let’s Get Lost. What was missing was Baker, four months gone. Did Weber have a theory about his protagonist’s Dutch demise?

“It’s typical of Chet to leave in this cloudy situation,” Weber said. “But it wasn’t really Chet’s style to jump. He was always getting into trouble with drug dealers. He called me in the editing room a month and a half before his death and said, ‘This cocaine dealer is after me.’ But I don’t know, because Chet was always hallucinating. People always ask me about the drugs. Chet took drugs to be normal. He was a rugged Oklahoma boy, and he had a great tolerance for them.”

Baker spent much time before Weber’s camera — blowing trumpet, singing, doing woozy soliloquies — in an unmistakably drug-induced state. When Let’s Get Lost came out, some journalists accused Weber of exploitation, of using Baker’s deteriorated mind and body to his own voyeuristic advantage.

“I don’t think it was a sadistic situation,” is the filmmaker’s version. “I have a responsibility to the person I’m making a film about, when he trusts you. Chet was proud of his knowledge of drugs. He once said he would not change the way he did things. I never felt that Chet was pathetic. He was very aware even in his worst state, without socks in the middle of winter.”

The Baker of Let’s Get Lost, after decades of hard drugs, is wrinkled, toothless, cadaverous. Also, on the eve of his death, hauntingly photogenic. “I think sometimes he looked beautiful so ravaged,” Weber told me. “He had a Dorian Gray thing. One time, he looked like he’d crawled out from under a rock. We’d have to comb his hair. The next time, he’d take three hours to get ready. Even when he was really stoned, Chet would get you into his rhythm. He had a tendency to be very vague, but gradually he got less vague.

1  |  2  |   next >
Related: Get MIFFed, Haven, Film @ Noir, More more >
  Topics: Film Culture , Entertainment, Music, Movies,  More more >
  • Share:
  • Share this entry with Facebook
  • Share this entry with Digg
  • Share this entry with Delicious
  • RSS feed
  • Email this article to a friend
  • Print this article
1 Comments / Add Comment

admin

Do you know if this is available on DVD?
Posted: January 24 2008 at 7:45 AM
HTML Prohibited
Add Comment

ARTICLES BY GERALD PEARY
Share this entry with Delicious
  •   REVIEW: CREATION  |  January 20, 2010
    God-fearing creationists won't find anything to worry them in Jon Amiel's stiff, stodgy, PBS-style telling of the life of Charles Darwin (Paul Bettany) during the time he was writing (slowly, very slowly) The Origin of Species .
  •   REVIEW: POLICE, ADJECTIVE  |  January 20, 2010
    Down these mean Romanian streets, in the nowhere town of Vaslui, walks a young plainclothes policeman, Cristi (Dragos Bucur), who seems more reasonable, more compassionate, than his stern, by-the-book colleagues.
  •   REVIEW: LE COMBAT DANS L'ÎLE  |  December 22, 2009
    Alan Cavalier's sleek noir rescued from 1962 obscurity
  •   REVIEW: AMARCORD  |  December 16, 2009
    In memory, Federico Fellini's 1973 work, an Oscar winner for Best Foreign Film, stands among his masterpieces. But seen today, Amarcord is something of a disappointment, clever and moving in places, but also sprawling, undisciplined, clumsy in patches, and decidedly overlong.
  •   REVIEW: ARAYA  |  December 16, 2009
    Margot Benacerraf's extraordinary Venezuelan documentary, among the finest ever made, shared the 1959 International Critics Prize at Cannes with Alain Resnais's Hiroshima, mon amour and then disappeared.

 See all articles by: GERALD PEARY

MOST POPULAR
RSS Feed of for the most popular articles
 Most Viewed   Most Emailed 



  |  Sign In  |  Register
 
thePhoenix.com:
Phoenix Media/Communications Group:
TODAY'S FEATURED ADVERTISERS
Copyright © 2010 The Phoenix Media/Communications Group