![]() Talking-head interviews with Cobain’s parents and stepmother, his first girlfriend and Love offer only occasional insight. For at least the part covering the second half of Cobain’s 27-year lifespan, Montage of Heck ends up being more of a family’s public telling of its own official version of the story than a frank portrait of an already troubled superstar doubly troubled by his own stardom. Her fingerprints seem to be all over the final product and, although Love is merely thanked in the credits, her daughter Frances Bean Cobain (now 24 years old, and a successful visual artist) is a co-executive producer. Morgen has been working on it since 2007, when Cobain’s wife-musician Courtney Love-approached him with the idea. Universal Pictures and HBO Documentary films are two of the four production companies involved. This is an ambitious, high-profile project. This feels like a first cut rather than “this generation’s The Wall,” as director Brett Morgen has hyped it. Immediately, however, I found myself mentally editing its 132-minute sprawl. ![]() This is the first film bio authorized by Cobain’s family since his 1994 suicide, using lots of never-before-seen home movies and footage of his personal notebooks, so I went in with high expectations for an inside look at the Nirvana frontman’s life and mind. ![]() Thursday evening ended on Friday morning, spanning midnight with the disappointing biographical documentary Kurt Cobain: Montage of Heck. Nights run long at Full Frame-into the next day, in fact. ![]()
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