Let's Get Lost could have so easily been done badly. Intense fandom doesn't often make for objectivity, and the tragic-artist-gone-to-seed narrative is so, so tired. But this film kicks those limitations right over. It's tough about the ugly facts of Chet Baker's life as a liar, user, and junkie. At the same time, it never allows the viewer to forget the intense beauty Baker created as a musician, and embodied as a young man of perfect allure.
There are images I'll never forget: the expressions of his family as they listen to his music, his ex-wife lost in remembered pleasure; his daughter, pained; his dead-ringer son, uncomfortably smiling. The older, ravaged Baker, in the back seat of a convertible with two women, murmuring to them like he's in a dream. The stills of he and his second wife, both so stunning and so clearly in love, burning for each other. And more than that, the music, aching and romantic, and always so lonely, always about longing for some woman in some place that's beyond reach.
I am grateful to Bruce Weber for creating this film. It's why I go to the movies like some people go to the mountains or the sea, to church or to some lover's arms: it got me lost.
There are images I'll never forget: the expressions of his family as they listen to his music, his ex-wife lost in remembered pleasure; his daughter, pained; his dead-ringer son, uncomfortably smiling. The older, ravaged Baker, in the back seat of a convertible with two women, murmuring to them like he's in a dream. The stills of he and his second wife, both so stunning and so clearly in love, burning for each other. And more than that, the music, aching and romantic, and always so lonely, always about longing for some woman in some place that's beyond reach.
I am grateful to Bruce Weber for creating this film. It's why I go to the movies like some people go to the mountains or the sea, to church or to some lover's arms: it got me lost.