Director: Charlie Paul
Starring: Ralph Steadman, Johnny Depp, Richard E. Grant, Terry
Gilliam, Hunter S. Thompson, Jann Wenner
Synopsis: A documentary about Ralph Steadman, the artist behind
many Hunter S. Thompson illustrations, along with decades of unique and
revolutionary artwork.
The Gonzo visionaries were famous
mainly for all the wrong reasons; they defied convention, acted out unmorally
and set daring new trends. Ralph Steadman was one such visionary whose work
has, up until this day, provoked millions of people. In Charlie Paul’s
documentary, the genius and novelty of Steadman’s work is sought to be
explored.
Paul brings along Johnny Depp (a
close friend of Steadman and his notorious partner, Hunter S. Thompson) as
interviewer/narrator, making this film seem like a project among friends (also
giving it a commercial boost). In this regard the niceties of close
companionship fog the more introspective aspects of documentary filmmaking.
Fortunately, with Steadman feeling comfortable with Paul and Depp, he does
delve into some more personal recollections, though maybe not as often as one
would hope. It succeeds in foregrounding a figure many may not know of – a name
that only appears at the bottom of his art, without any indication of his
personality – as well as detailing the style of his strange yet beautiful art.
Steadman rose to fame when he was
employed to work alongside Hunter S. Thompson to illustrate Hunter’s articles
and book. This relationship is, as one expect from knowing about the infamous
Gonzo journalist, was chaotic. It had its ups and downs throughout the
adventures the pair had together – something Paul focuses on heavily. With
Hunter being such a larger-than-life figure, the documentary does become fixed
on him in parts. It’s something that is perhaps unavoidable but does make you
pine for more material and anecdotes about Hunter, fatefully putting Steadman
in the corner.
Thanks to Steadman’s time in
Hunter’s company he has developed a sharp and wicked wit that, for when he gets
his limelight, elevates his profile. He isn’t just some pale and crotchety
artist who lingers by the side; he has an intense voice and morale that justifies
a film about him. Moving past Hunter, we hear and see Steadman in the company
of Richard E. Grant, Terry Gilliam and William Burroughs. He has lived a
fascinating life in the company of great artists (much like himself), educated
through each experience and meeting.
Steadman’s interests lie not only
in art but political activism. The two endeavours are collected in a great
montage that flicks through dozens of drawings – some animated at points –
giving another life to the works of a smart and creative set of art. It’s a
moment that sets you in great awe of the man – there are literally hundreds of
drawings, all with a unique flavour.
Not only exposing the agenda and
history of Steadman, the film must magnify that distinctive flair; it does in
sections of the film, and they are among some of the most seminal sequences of
the documentary. Watching Steadman work is a thrill. Many documentaries about
artists flash through their life and merely present to you the final piece, in For No Good Reason the process is
explored. The smears and harsh splatters of Steadman’s brush reflect a realm of
emotions and messages. As Steadman paints a few new pieces he runs his own
commentary over what a certain flick of the brush, or what a change in colour,
may mean. What’s more, he reveals the technique of his design that for artists
is exceptionally enchanting.
All great documentaries implore you to seek out
the work of the person in focus and this film achieves that. You leave the
cinema determined to read the stories Steadman illustrated, find the
collections and even try your hand at some of the art. There is only a niche
demographic for For No Good Reason
which, whilst distressing, is perfectly understandable for a film about the
wacky Gonzo personalities.
***
By Piers McCarthy. Also posted on LiveForFilms
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