Wednesday, October 12, 2016

The Saga of Oasis feels too sanitized – Svenska Dagbladet

the Brothers Gallagher from "Oasis Supersonic".

Mat Whitecross

2 hrs 3 min. From the age of 15.

Score: 3 of 6

"that is Why we will become the world’s best band, I hate it aseth." In 1991, three years before Oasis wrote about pophistorien with debut album "Definitely maybe", Liam Gallagher in a basement and talk about the biblical brothers "Abel and Cable". He aims to hatkärleken between him and brother Noel is a creative force, which would prove to be a true prophecy. At least sold the theory into hard in this documentary by Mat Whitecross ("The Road to Guantánamo").

using, home videos, newspaper clippings, (individual), interviews with the band members and the closest circle, as well as small animations, tells the tale of how "guys from a municipal residential area" in a few years became outrageously successful, skandalstämplade artists. Produced have Asif Kapadia who directed last year’s fine (and more interesting) documentary about Amy Winehouse, but also the brothers Gallagher. Which is why "Oasis: Supersonic" feels sincere and informed, but also sanitized.

the Film begins and ends with the two concerts on the prestigious utomhusarenan at Knebworth in 1996, with 125 000 paying per night because "Oasis: Supersonic" presents Manchester band as a phenomenon on a par with The Beatles is not mentioned that seven other fairly big uk acts, acted as "bond". Then fade the story out in a "maybe we should have added by then". It is in a way logical because the Oasis lost its relevance after the second album "(What’s the story) morning glory?" But they split, after all, not until 13 years later.

We may not hear sounds of the very vibrant britpopscenen, as the Oasis was a part of, or if the feud with Blur. It is a stingy priority in relation to how much space ospännande anecdotes about the devoted japanese fans and fyllebråk on the ferries get.

The class-anstrukna Blur/Oasis debacle had a points also to arbetarklassuppväxten and driven to create better conditions for itself, and for the mother, is a red thread here. It is nice to relive the early Oasis and their music, as they were before they were sucked into a downward spiral of lättglömda discs, Patsy Kensit and tea with Tony Blair. But it is when Whitecross delves into the family’s part dark history – which by extension becomes the Oasis history – as it occurs, something truly meaningful.


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