![]() The Bee Gees elevated catchiness to a kind of transcendence. Yet you could make a case (I would) that “Stayin’ Alive,” along with “Billie Jean,” is the most stupendous pop song of the last 45 years. The Bee Gees, in their incandescent and sublimely melodic way, worked inside idioms they didn’t create - in the late ’60s they sounded like the Beatles with a touch of Herman’s Hermits (whereas the Beatles sounded like no one but themselves), and in the ’70s they were dance-pop avatars playing with a form they both followed and heightened. Those artists were revolutionaries whose music remade the culture. There is, of course, the God-like strata of pop music, the rarefied upper echelon of Olympus: the Beatles, the Stones, the Beach Boys, Dylan. How deep was their greatness? Even if you love them (as I do), that’s not such an easy question to answer. 12, on HBO, is a gratifying, conventional, heartfelt documentary that tells the story of one of the great pop groups, but part of the film’s excitement is how thoroughly it explores the question of where, exactly, the Bee Gees fit into the pop firmament. ![]() “ The Bee Gees: How Can You Mend a Broken Heart,” which premieres Saturday, Dec. United by a silky timbre that was in their DNA, those voices, crooning and soaring, often into the higher register, fused as gorgeously as the colors of a rainbow. And those voices! To say that the Gibb brothers blended together with seamless perfection wouldn’t do the sound they created justice. and raised (mostly) in Australia, they had different versions of the same overbite (though Barry had the handsome-jock version, Robin looked like a gopher, and Maurice was the cute everyman). The Bee Gees, of course, were brothers (there were three of them), a fact that in itself isn’t remarkable, though like the Beatles they rhymed in ways that were at once visual, temperamental, and sonic. For all their iconic differences, they had variations on the same thick billowy dark hair, gleaming lemon-shaped smile, and Liverpool singsong and mocking twinkle. The Bee Gees story with all their tunes, has been catnip and aside from a stage musical project with Barry Gibb, Elisabeth Murdoch and Stacey Snider at Sister are teamed with Steven Spielberg and Bohemian Rhapsody producer Graham King and scribe Anthony McCarten are developing with Paramount a big Bee Gees narrative film.One of the things that made the Beatles, when they first arrived, seem magical was the uncanny way the look and sound of all four of them matched up. ![]() We all feel very privileged to be involved.” “It is brotherhood and family, creativity, entertainment, joy, and tragedy. Said Sinclair: “This is a story of how three brothers with paramount musical gifts created music that touched the collective unconscious across five continents for five decades straight,” said. “It’s an honor to tell the story of the Bee Gees – as brothers, as superstars and iconic songwriters – and to shine a light on their incredible career and the global impact of their music,” said Executive Producer and Chairman/CEO of Universal Music Publishing Group, Jody Gerson. We are very happy and proud to be with HBO, and it has been an honor to work on this project.” “Like so many people, I’ve loved the Bee Gees’ music all my life,” said Marshall, “But discovering their uncanny creative instincts and the treasure trove of music, their humor, and loyalty was a great two-year journey. Their collective credits include HBO’s The Apollo, The Beatles: Eight Days a Week, HBO’s George Harrison: Living in the Material World, and Icarus. Marshall produced alongside Nigel Sinclair and Jeanne Elfant Festa, and Mark Monroe, latter of whom wrote the script. Pic is a Polygram Entertainment presentation of a Kennedy/Marshall and White Horse Pictures production in association with Diamond Docs. Dan Rather Says Donald Trump Could Win Reelection: "It Would Be Foolish" To Think Otherwise
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