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17 user 17 critic
Bob Moog shaped musical culture with some of the most inspiring electronic instruments ever created. This "compelling documentary portrait of a provocative, thoughtful and deeply ... See full summary »

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Hans Fjellestad

Writer:

Hans Fjellestad

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Cast

Credited cast:
Charlie Clouser ... Himself
Herbert Deutsch Herbert Deutsch ... Himself
Keith Emerson ... Himself
Woody Jackson Woody Jackson ... Himself
Edd Kalehoff Edd Kalehoff ... Himself (archive footage)
Gershon Kingsley Gershon Kingsley ... Himself
Pamelia Kurstin Pamelia Kurstin ... Herself
DJ Logic DJ Logic ... Himself
Money Mark Money Mark ... Himself
Mix Master Mike Mix Master Mike ... Himself
Robert Moog Robert Moog ... Himself
Jean-Jacques Perrey Jean-Jacques Perrey ... Himself
Walter E. Sear Walter E. Sear ... Himself
DJ Spooky DJ Spooky ... Himself
Luke Vibert Luke Vibert ... Himself
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Storyline

Bob Moog shaped musical culture with some of the most inspiring electronic instruments ever created. This "compelling documentary portrait of a provocative, thoughtful and deeply sympathetic figure" (New York Times) peeks into the inventor's mind and the worldwide phenomenon he fomented. Written by ZU33

Plot Summary | Add Synopsis


Certificate:

Not Rated
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Details

Official Sites:

ZU33

Country:

USA

Language:

English

Release Date:

17 September 2004 (USA) See more »

Filming Locations:

Tokyo, Japan See more »

Company Credits

Production Co:

ZU33 See more »
Show more on IMDbPro »

Technical Specs

Color:

Color
See full technical specs »
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Did You Know?

Soundtracks

Sqeeble
Written by Darrin Wiener / Jeremiah Green
Performed by Plastiq Phantom
Published by imputor? / Crazy Gnome (ASCAP)
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User Reviews

 
Moog Misses The Mark
26 December 2007 | by drmidiSee all my reviews

I must say that this documentary is a rather poor tribute both to Robert Moog and the Moog synthesizer for a myriad of reasons. Perhaps you might watch this (as it is being aired this month, December, 2007 on The Movie Channel (HD) for the same reason that I did (and that is to see what this documentary had to say about the man and his instrument, philosophy and some of the history behind the Moog synthesizer's and company's development), however the total impact of this piece greatly suffers both from what was included in the film and what was left out.

Granted, it is obvious that this film was not intended to be a complete historical review of the Moog's development. The same applies to the music, musicians, interviews and other footage including Robert Moog's own comments about himself, his instrument, and those who used the instrument commercially or in performance. The soundtrack is also quite disappointing, especially in terms of what was chosen as representative examples of Moog performances over the years. I suppose you would have to be well-versed in the history of the synthesizer (as I am) to fully understand this.

I agree with other reviewers in that Walter/Wendy Carlos was only briefly mentioned during this documentary, especially when it applies to the Moog modular system (as recorded on Switched-On Bach, The Well-Tempered Synthesizer, Switched-On Brandenburgs, Tron and others) which were perhaps the first and most influential recordings of the Moog synthesizer of all time. Also missing were such artists as: Isao Tomita, Dick Hyman, Herbie Hancock, Tony Banks (Genesis), and many more who recorded and performed with the Moog synthesizer during its early years. Instead, the focus of the piece centered around Keith Emerson, Rick Wakeman, Bernie Worrell and some of the early partners and friends who worked with Moog towards its development (Herbert Deutsch and other contemporaries and personal friends of the late Dr. Moog). The interview with Wakeman and Worrell was taped in a noisy hallway and could have been more effective (at the very least) by being taped in a quieter setting.

The commercial use of the Moog synthesizer centered around a rather dated beer commercial. I was expecting perhaps an interview with Suzanne A. Ciani who was infinitely more prominent in this area. In other cases, the interview location (city) was titled, but not the name of the person speaking with Bob Moog and that was also disappointing.

I also agree that certain comments were repeated, especially Bob's comment on having a feel of what was going on within the Moog's circuitry when he played it. Since he also discussed the Theremin (which seemed to be a major portion of this documentary) it would have nice to included some commentary about Miklos Rozsa and the role the Theremin played as the only recognized synthesizer as an "orchestral instrument." I am referring to many film score recordings which featured the Theremin, such as Hitchcock's Spellbound and many others in the suspense and Sci-Fi genres. There was little discussion about the other Moog synthesizer models outside of the modular system and the MiniMoog (such as the PolyMoog, MemoryMoog, and others).

The in-between footage, music and performances were rather disappointing and disjointed. I think the director could have planned a better tribute to a wonderful person, inventor, instrument, social and historically-significant musical technology. I think to really do justice to both the man and his machine, you would have to present, at the very least, about a 2 to 3-hour-long documentary.

On the plus side, it was interesting to see the Moog in production and some of the performance and interview footage, but not all. Actually, much of the footage is somewhat comical in nature when you look back at how it was presented, back in the early days of synthesis.


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