Occasionally a high-profile film or TV documentary arrives at just the right time to appear as if it were created to address the frustrations created by another high-profile documentary, however co…
and Crosby, Stills, Nash & Young as Joni-come-latelies. Ellwood’s “Laurel Canyon” happily extends the timeline into the mid-‘70s. That affords us milestones like the arrivals of Browne and Mitchell in the woodsy ‘hood as baby-faced wizard-cherubs, the Mitchell/Graham Nash live-in romance that produced the song “Our House,” country music supplanting folk as the dominant extra ingredient in the rock stew.
In dramatizing all this, Ellwood takes a bold leap by keeping almost all her interview subjects off-screen and limited to audio-only reminiscings, except for two. Legendary photographer Henry Diltz is the first person we see in contemporary footage, and he’s almost the last, too, eventually joined by another shutterbug, Nurit Wilde. Looking at these two looking at contact sheets permits them to be unofficial narrators, although Ellwood doesn’t overdo that as a a gambit.
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