Rolling Stones guitarist Ronnie Wood has led a colorful life. He’s practically the Forrest Gump in the music world. As he states in the documentary that chronicles his artistic life, Somebody Up There Likes Me, he’s always been “in the right place at the right time.” Isn’t that the key to life—regardless of one’s vocation?
Filmmaker Mike Figgis (Leaving Las Vegas) gets access to a Rock n’ Roll Hall of Fame bevy of bodacious talking heads to impart their stories about Wood, their experiences with Wood, and most importantly—the musical landscape impact of the rhythm and lead guitarist who has worn a myriad of hats for a wide variety of groups. From Wood’s most important, and current, band—The Rolling Stones—to his role in The Jeff Beck Group, The Faces, and even his own fronted group, no musical stone is left unturned. Figgis’ stunning effort to paint an accurate—and surprisingly intimate—picture of the man whose penchant for putting brush to canvas is also beautifully chronicled.
Ever present is Wood’s battle with substance abuse and his triumph tackling addiction. It’s fascinating to see how that played out. What with the 60s and especially the 70s serving as a landscape ripe with partying as hard as one possibly can, it was hard to know when and where to draw the line between what was rock and roll “normal” and what was a problem. That is a challenge for anyone, but as explained and explored by Figgis and talked about by Wood and his friend and fellow painter/recovering addict Damien Hirst, it is crystal clear what line was deemed an issue once it was crossed.
Although never confirmed, from the details provided by Wood, the penchant for overdoing things ran in his family. He shared stories about growing up wondering whose garden would dad wake up in. The famed guitarist also relayed stories about his older brothers and their issues with “the drink.” What we know now about hereditary and addiction, one can easily connect the dots on this issue. With Somebody Up There Likes Me, the majority of its focus isn’t necessarily on Wood and his battle with addiction to alcohol, heroin, and cocaine, it’s just one spoke in the wheel that is Figgis’ film.
Rod Stewart was a champion of Wood long before the glaring spotlight of being in The Rolling Stones exposed the guitar hero to the masses. The Faces lead singer describes a music scene in London that was fluid with a slew of names that seem to always find themselves sharing stages. It’s a fascinating part of the doc that describes a British musical arena that had many, including Keith Moon, Jimmy Page, and even American Gene Vincent, at the center of things—with the ever-shifting lineups of The Yardbirds, The Birds, and The Jeff Beck Group.
The interviews with Mick Jagger, Keith Richards, and Charlie Watts adds priceless layers of richness to the film. Not only due to the fact that Ronnie Wood has been a Rolling Stones member for decades with those guys, but their insight casts their guitarist in a light that firmly establishes why he was the right guy to step into the band when Mick Taylor left in 1975. Although a minor part of the overall narrative, as a longtime Stones fan, this is a sensational revelation of the band’s history and the context of how musically each guitarist made the band something uniquely different. Of particular delight is Richards as he waxes poetic about playing with Wood and the magic that the two share that anchors the entire Rolling Stones experience. You’ll never look at the British rock stalwarts the same way again. In fact, don’t be surprised if after the credits roll on Somebody Up There Likes Me, you find yourself researching the Stones and how their collective sound altered from Brian Jones to Mick Taylor to Ronnie Wood. It’s rich, and that’s putting it mildly.
Not that Wood needed humanizing, but Figgis’ film adds countless layers to the persona of the rock star that was equally enlightening as it was entertaining. His wife Sally Humphreys Wood, in particular, adds some interesting candor when speaking of his sobriety. He was never a “mean drunk” or anything remotely like that, but she speaks to his genius was set free artistically when he gave up booze and drugs. Then, we get a shot of him with his two toddler-age children. It’s seemingly a simple moment, but it speaks volumes to reinforcing the narrative at the heart of Figgis’ doc.
Like so many musicians of that era, art school served as a launching pad. It was John Lennon who was in art school, and although Wood wasn’t, his brothers were. His stories of those art students coming over to his boyhood home to jam show that the fruitful artistic environment of an arts education can largely be credited with providing the introductory point for so many musical legends. Gaining the fly on the wall sense of what it was like in those early days is sensational and comes to life brilliantly in Somebody Up There Likes Me.
The scope of the musician’s reach is embodied by Imelda May, who sings with Wood’s side project, Ronnie Wood and Friends. The young(er) Irish blues singer is a unique contributor to Figgis’ film in that she represents a different perspective than the one that gets so much of the focus. She comes at the Wood wizardry from a simultaneously fan-driven place as well as one who has shared the stage with the guitarist.
There are too many musical moments to mention without taking all day to laud the footage that Figgis has assembled. It is mesmerizing. After spending a good deal of time breaking down how different musicians made the Stones a different band, the filmmaker plays a clip of the boys performing When the Whip Comes Down. It impeccably musically encapsulates what Richards had just explained. Contrasting that is an early performance clip of the Stones performing Carol. That captures how Jones impacted the sonic succulence of the band in a way that was utterly unique. When Stewart speaks to The Faces and how they were a “good time band,” Figgis showcases a live performance of the guys performing Stay with Me. Perfect choice.
Figgis doesn’t insert himself into the documentary, but he (at least at the film’s beginning) responds to Wood’s answers of questions he’s posed with a “me too” that was a little bit off-putting. Perhaps he became aware of that fact, or maybe someone told him, but it ceases to occur as soon as you realize it is happening. Being self-aware is an important attribute for any filmmaker, especially one who is making a documentary. He all but slips into the fabric of the movie after those first few minutes. As such, he is able to deliver quite the wallop of informative insight and a narrative that showcases an artist that countless souls believe they know, but after witnessing Somebody Up There Likes Me, you will realize that your knowledge of Ronnie Wood had barely scratched the surface.
It is the rare documentary that can be revisited or watched again. For some reason, Figgis’ cinematic look at The Rolling Stones guitarist is one of those docs. With successive viewings, you will discover different elements being highlighted. One aspect that will resonate with so many is Wood’s comments on how lucky he is to be alive. We learn the source of the film’s moniker after the musician reveals how a relatively recent lung operation managed to get rid of cancer in the lungs, as well as emphysema that he didn’t even know he had. After admitting to smoking 25 or so cigarettes a day for five decades, Wood reveals that the surgeon told him the way his lungs were, post-surgery, was like he never smoked. That kind of luck, health-wise, seems to be unique to the Stones. I mean, how is Richards still walking, right?!
As Wood reveals his surgeon’s comments, he coyly smiles and says, “Somebody up there likes me, and someone down there likes me too.” He emits that gravelly laugh and our doc is off to the races.
An element of the doc that will also spur some internet research upon its conclusion, is Wood’s paintings. There are many moments throughout the film where the guitarist has a brush in hand and is clearly painting a subject, for example, a ballerina. There are no words, just a man channeling his artistry in real-time. It is extraordinary to witness and also… this man has a gift that goes beyond stringed instruments.
Somebody Up There Likes Me hits virtual cinemas on September 18 and will arrive on Blu-Ray and DVD on October 9.
Grade: A-