In 'Personality Crisis: One Night Only,' premiering Friday, Scorsese and co-director David Tedeschi illuminate a nexus of New York alternative scenes.
Writer and professional New Yorker Fran Lebowitz riffs on urban life in Netflix’s new documentary series “Pretend It’s a City,” directed by Martin Scorsese.It comes together in spades in the winning “Personality Crisis,” and in the equally attractive person of Johansen, a nexus of Manhattan alternative scenes.
The Dolls filtered the Stones’ rockified R&B through a New York brand of thrift-store glam — “We had to buy women’s clothes to look like rock stars,” Johansen remembers — and incidentally set the stage for punk rock. As was largely true of glam, whose feather boa androgyny the Dolls embraced, and punk, whose ecstatic amateurism they anticipated, their music provided a joyful, nonjudgmental, noncategorical gathering place for those who elsewhere felt judged, categorized or in need of joy.
What becomes clear in this rendition is the quality of his songwriting. For fans who only know early “hits” — “Personality Crisis” and “Trash” and “Jet Boy,” seen in archival clips — the surprise may be in the strength of the ballads. Johansen is one of those singers, to be a little paradoxical, who is technically better and more versatile than he sounds.
The music reflects the person: thoughtful, erudite, what one might call impishly melancholy. Some prior knowledge of Johansen’s history may be useful — you will get more of an impression of his life and work than a thorough accounting — but what “Personality Crisis: One Night Only” lacks in factual detail it more than makes up for in raw charm.
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