Monday , June 27 2022

Gustavo Cerata's life, recreated by his affections


The documentary presents unpublished archival material, such as this childhood image and anecdotes narrated by his family, friends and former Soda Stereo Zeta Bosio and Charly Alberti Faith: NatGeo

Last night, Nat Geo had the premiere
BIOS: Live that it was marked by you, dedicated

Gustavo Cerati

. In two consecutive episodes of one hour, the documentary produced by Sebastián Ortega and led by Chilean Javiera Mena allowed the reconstruction of the leader's life

Soda Stereo

. And he did it through the direct testimony of his former musicians who accompanied him in the various stages of his solo career; his mother, Lilian Clark; his sisters, Laura and Estela, and their children, Benito and Lisa. And Cerati himself, who tells his story in interviews, some of them unpublished, along with abstract archive materials.

After Shakira, Zeta Bosio and Charly Alberti described the musician on the basis of his own opinions ("I think he liked it and did not know how to limit the things that pleased him," the bassist argues roughly), the action begins with Mena coming to Clark's house for a family lunch with the entire Cerati clan. After visiting the room where the musician lived until the first Soda Stereo album was released, Laura listened to a vintage record where Juan José, his father, pretends to be a radio reporter who presents his listeners with a new talent: the son his Gustavo, only six years old, singing a song.

This sound acts as a trigger to highlight the support that Cerati has always had for his family. "If there is something you do not have to regret is to follow the vocation of children, no matter what it is, do not frustrate them at all," says Clark, who also highlights how her husband was responsible for bringing records and tools to the son every time he traveled to the United States. Gustavo himself points out that support for an interview made in 1990, which states, "I'm still a protection for myself, every time I make a recording, I show them and hope they will embrace me and get closer."

Zeta Bosio is responsible for explaining how they met at the Universidad del Salvador while studying advertising, while Ana Saint Jean, Cerati's girlfriend at the time, presented a tape with an unpublished song that Cerati composed when they were together , whose Melody recalls "Madness", which he later recorded in his solo career. The conversation then becomes the aesthetic obsession of the group at its beginnings, supplemented by vintage photographs and a testimony of the Cerati file, which recognizes between laughter: "I was a comb and three people."

A visit to Marabu, where Soda Stereo gave her first shows, together with Adrián Taverna, the historical sound of the trio, serves as a starting point for a brief review of the group's ascension. The vertiginous rhythm does not allow focus on specific periods, but there is an abundant unpublished material, such as images of performances during Sodamania, photographs in dressing rooms or transfer from one destination to another, and a new testimony by Cerati, in which recognizes that in In that explosion, he had an attempt to separate the band into a tired peak at an airport in Costa Rica. The success of Doble and the subsequent presentation in Buenos Aires led to the recording of Animal Song in the United States, with photos of the group leader recording the "Entre caníbales" and "One million light years" guitars. You can also see how Melero's incorporation generates a symbiosis with Cerati and friction with his colleagues, which leads to his subsequent move to Chile, with registration
Yellow love and the birth of his son Benito as pillars of a new era.

This search for a new horizon also works as a prelude to separating Soda Stereo. A chaotic and uninspired show at the Ferro Alternative Festival and the arrival of his daughter Lisa are the preamble
The last concert, at the River Stage in 1997. After Leaving its Leadership Plan of the Plan V, Leo García interprets his genesis
puff and tells how many of the lyrics were inspired by the book The Seven Successful Spiritual Laws by Deepak Chopra.

A reduction in chronology makes protagonists Benito and Lisa emphasize Cerati's most intimate part: his face as a father. Gaming images between the house, family holidays in San Martin de los Andes and an acid-house album that the oldest of his children recorded at the age of five appear.

It is precisely Benito who is analyzing how it was that Cerati decided to go back to the rock guitar. "He was frustrated that he received things that, although he did what he wanted, did not do that well", an indirect reference to the transition
It's always today to
We will go there.

From the success of the fourth solo album to Soda Stereo's operative return, with the level of secrecy in which it was conceived, and the heavy negotiations that manager Daniel Kon had to maintain with the three band members in terms of the terms of the contract, that they will reach signing. The health of the author of "Light Music" gives the first alarms when a thrombosis has forced his doctor's warnings to be a recurrent topic in that tour, though, in García's words, "he made the decision to live entirely and take care of of consequences. "

The Cerati family, in Lilian Clark's house, the house where Gustavo's teenage room is kept
The Cerati family, in Lilian Clark's house, the house where Gustavo's teenage room is kept Faith: NatGeo

With images of Soda Stereo's latest show on the screen (and mentioning more talks and discussions to end problems and injuries in progress), Charlie Alberti makes a revelation stating that among the three musicians they were proposed not to end their own story definitively : "I said," Let's stop now, "and every four or five years we send a tour of them, we had a spectacular time, we made a record, and then every one goes on with it and that's what we're left with." Following the pace of this plan, what follows is the recording of Fuerza, his latest studio album and the only one that is deeply documented in Bios. All those involved emphasize how Cerati felt a special connection with the present and the present and now, which the musician himself extends from an interview in which he states: "From there by age, the amount of miles in life, of every time it is more necessary to enjoy your journey and enjoy more moments. " This is evidenced by the backstage photos of the tour to present the album, and the air of camaraderie he has kept with his musicians.

Javiera Mena, as conductor, interviewer and Benito Cerati
Javiera Mena, as conductor, interviewer and Benito Cerati Faith: NatGeo

A fragment of his last performance in Caracas and behind the scenes he and his band made when he finished playing (and while he's already faced with the first symptoms of ACV that became his fourth death years later) is the prelude to the end of his own story, in which Bosio and Alberti detailing their last encounter with him at the Alcla clinic and where you can appreciate the enormous integrity Lilian Clark has been through for those four long years.

As a closure, his family and musicians meet in Unison to interpret a version of the "Natural Force" that alternates between fragments of the original. The use of editing and image shades plays to give the impression that Cerati is present with them in the studio, one of the greatest achievements of the documentary.

Even with severe time cuts (his electronic projects, the recording of Dynamo, Sueño Stereo and much of his solo discography) and the omission of key testimonies (Richard Coleman's absence is mentioned in the story), Bios is held by emotional value opens a difference in the dynamics of a figure with a talent as great as the secret with which he managed his private life.

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