| Photos (see all 32 | slideshow) | Videos |
| Perla Batalla | ... | Herself | |
| Bono | ... | Himself | |
| Robert Burger | ... | As himself | |
| Nick Cave | ... | Himself | |
| Julie Christensen | ... | Herself | |
| Adam Clayton | ... | Himself | |
| Jarvis Cocker | ... | Himself | |
| Leonard Cohen | ... | Himself | |
| Antony Hegarty | ... | Himself | |
| Anna McGarrigle | ... | Herself | |
| Kate McGarrigle | ... | Herself | |
| Larry Mullen Jr. | ... | Himself | |
| Beth Orton | ... | Herself | |
| Brett Sparks | ... | Himself | |
| Rennie Sparks | ... | Himself | |
| The Edge | ... | Himself | |
| Linda Thompson | ... | Herself | |
| Teddy Thompson | ... | Himself | |
| Martha Wainwright | ... | Herself | |
| Rufus Wainwright | ... | Himself | |
| Jo Weldon | ... | Burlesque Beauty | |
| Hal Willner | ... | Himself |
Directed by | |||
| Lian Lunson | |||
Writing credits(in alphabetical order) | ||
| Lian Lunson | writer | |
Produced by | |||
| Kevin L. Beggs | .... | executive producer (as Kevin Beggs) | |
| Bruce Davey | .... | executive producer | |
| Mel Gibson | .... | executive producer | |
| Mel Gibson | .... | producer | |
| Sarah Greenberg | .... | executive producer | |
| Lian Lunson | .... | producer | |
| Erik Nelson | .... | executive producer | |
| Tim Palen | .... | executive producer | |
| Sandra Stern | .... | executive producer | |
Original Music by | |||
| Leonard Cohen | |||
Cinematography by | |||
| Geoffrey Hall | |||
| Lian Lunson | |||
| Brit Marling | |||
| John Pirozzi | |||
Film Editing by | |||
| Mike Cahill | |||
Production Management | |||
| David S. Harding | .... | executive in charge of production | |
Sound Department | |||
| Mark Maloof | .... | sound recordist: New York City location | |
| Peter Staubli | .... | sound editor | |
Camera and Electrical Department | |||
| Marcus Hides | .... | camera operator | |
Editorial Department | |||
| Bobby Maruvada | .... | on-line editor | |
Music Department | |||
| Robbie Adams | .... | music mixer: "Tower of Song" | |
| Joel C. High | .... | music executive | |
| Rebecca Rienks | .... | music coordinator | |
| Chris Spedding | .... | musician: guitars | |
| Hal Willner | .... | music producer | |
Other crew | |||
| Hal Willner | .... | concert director | |
Thanks | |||
| Zal Batmanglij | .... | special thanks | |
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| Ray | Walk the Line | Music and Lyrics | Golden Days | Shut Up & Sing |
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| Full cast and crew | Company credits | External reviews |
| IMDb Documentary section | IMDb USA section | Add this title to MyMovies |
Greetings again from the darkness. Guess I went into this one with misdirected expectations. I really thought it would be more of a traditional documentary film exploring the true genius and talent of the man. In fact, really all we get are film clips from a 2005 tribute concert in Australia wrapped around some priceless interview moments with Mr. Cohen. It doesn't take much talent to quickly realize the value is with the man, not the cover songs. The question is, why doesn't our rookie filmmaker recognize this? Although into his 70's now, Mr. Cohen remains other-worldly lucid and insightful and his smooth baritone readily spews forth words of wisdom and genius. His observational and oratory skills remain unmatched. The mix of his personal home movies is a nice touch, but oh how I wish we had more of his reminiscing and just talking about his life.
Most of his music is presented by second tier artists. The real stand out is Rufus Wainwright (son and grandson to Loudon I and II). Rufus obviously worships the man and his music and his affection shines through in all three performances, especially "Chelsea Hotel #2" (a kind of tribute to Janis Joplin). Nick Cave probably most accurately captures the Cohen style, but at least half of the songs in the film were performed by women. Quite a contrast to Cohen's own style.
A really magical moment occurs at the end of the film as Leonard performs with the backing of U2. Hard to tell who is more honored at playing with whom. The reverence shown for Cohen's writing is evident throughout the film, but the interview moments are mere teases to what could have been. Make sure to stay for the credits to hear Leonard sing his own song.