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- Country: Australia
- runtime: 102 minutes
- Directed by: Richard Lowenstein
- tomatometer: 7,9 / 10 star
- Mystify: Michael Hutchence is a movie starring Helena Christensen, Michael Hutchence, and Bob Geldof. Ghost Pictures and Passion Pictures and a documentary feature about the troubled heart and soul of Michael Hutchence, lead singer
- rating: 886 votes
Written and Directed by Richard Lowenstein “Mystify: Michael Hutchence” is a powerfully intimate and insightful portrait of the internationally renowned INXS frontman. Deftly woven from an extraordinary archive of rich imagery, Michael’s private home movies and those of his lovers, friends, and family, the film delves beneath the public persona of the charismatic ‘Rock God’ and transports us through the looking glass to reveal a multifaceted, intensely sensitive and complex man. For an all too brief time, we revel in Michael’s Dionysian beauty and sensuality on stage and off. We listen to the range of his extraordinary voice and witness the charmed way he travels through life as he is propelled to world acclaim. But Michael struggled with the idea of success, the creative limits of pop stardom and how to express his integrity; a longing that shaped his life and music and gave birth to a desire to go far beyond the constraints of pop. A violent event strikes Michael and changes his life forever, fracturing his sense of self and robbing him of his connection to life. Made vulnerable, he is unable to navigate the complex challenges he faces moving forward and he has little defense against the onslaught of tabloid press that descends upon his world. Amidst the encroaching darkness, Michael’s new-born daughter, Tiger, becomes his one bright light. Run Time: 2 hours 5 minutes #MystifyMichaelHutchence Categories: Documentaries Special Fathom Features Exclusive limited edition commemorative poster (limited quantities; first-come, first-served) US Premiere.
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If anyone wishes to try to comprehend the complicated nature of suicide, please listen to this insightful interview. # Mystify # MichaelHutchence ABC Radio National Content Warning - This episode deals directly with suicide, and may be distressing for some people. Please do seek help if you need it. There is always someone who can talk with you. If you or anyone you know needs help Lifeline on 13 11 14 Kids Helpline on 1800 551 800 Suicide Call Back Service on 1300 659 467... BeyondBlue on 1300 22 46 36 Headspace on 1800 650 890 See More.
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Mystify: michael hutchence watch online now. Mystify 3a michael hutchence watch online lirik. Beautiful ceremony. I still miss you Michael. Michael Hutchence had a love of all things sensual. He was a pleasure-seeking ball of insatiable curiosity, on an odyssey for new sensations. This is a powerfully intimate and insightful portrait of the internationally renowned INXS frontman, deftly woven from an extraordinary archive of rich imagery, Michael’s private home movies and those of his lovers, friends, and family. 'Mystify: Michael Hutchence' delves beneath the public persona of the charismatic ‘Rock God’ and transports us through the looking glass to reveal a multifaceted, intensely sensitive and complex man. Hutchence had explosive magnetism, but also many secrets. Kicking tabloid speculation into oblivion, his story emerges here with emotional and revelatory depth. ★★★★ "Enlightening and affecting. " - Wendy Ide, The Guardian ADD YOUR THOUGHTS Any thoughts or comments for this film? We'd love to hear them.
Hutchence's longtime friend Richard Lowenstein shares a deep look into the late singer’s life, loves, ambitions — and an assault that changed him forever. Michael Hutchence’s attention spans the trees while walking through an olive grove. He can’t help but focus on how these ancient shrubs were nearly “immortal. ” Untouched, some can even live over 1000 years. “They’re old, and we’ll never be, ” he says. It’s a poignant observation by the INXS singer, who died at the age of 37, in a clip from Mystify: Michael Hutchence, a documentary directed by longtime friend and collaborator Richard Lowenstein. It leaves very little mystique around Hutchence — specifically, his untimely death in 1997. Filled with intimate interviews and new revelations, Mystify is the most visceral look at Hutchence as a person and unravels the story of someone who wanted to be more than a sexy rock star, craved companionship and friendship, and left the world too soon. Billboard can exclusively reveal that it is playing in U. S. theaters for one night only, on Jan. 7, 2020 (Shout! Factory/Fathom Events); for ticket information, go here. Lowenstein’s connection with Hutchence and INXS occurred after meeting the singer in Nice, France, in 1984. From there, he went on to direct 16 of the band’s videos, including “Never Tear Us Apart, ” “Listen Like Thieves, ” “Suicide Blonde” and “New Sensation. ” Hutchence also starred as Sam, the singer of a band in Lowenstein’s 1986 film “Dogs in Space” (an examination of Melbourne’s post-punk “little band” music scene) and worked with the director during his brief, ill-fated solo excursion from INXS, Max Q, in 1989. A close friendship flourished throughout the years, giving Lowenstein a glimpse into the band, particularly Hutchence’s world. Mystify is not INXS’ story — something Lowenstein says is another documentary in its own — but more about the man, Michael Kelland Hutchence. It’s a journey back in time, into the singer’s youth, family, music, romances and, ultimately, his end. Only the voices of interviewees are heard throughout the two-plus-hour film, something Lowenstein consciously decided to do early on. For Mystify, Hutchence’s screen time was more important, including some never-before-seen archival footage — most of which the singer recorded himself. Humorous, heartfelt and raw, the tales from some of closest people in Hutchence’s life — such as his family, INXS bandmates and longtime manager Martha Troup — fill Mystify. “I wanted to take you on an immersive, time-traveling journey back to the ’80s, ” says Lowenstein, adding, “Instead of pulling the audience back and forth in time, which is what a lot of the rock docs do, I wanted to take you back and keep you there, and travel through time as he grows and ultimately until the end, much like a novel does. ” Hutchence once told Bono that being a rock star meant “liberation. ” He desired all of life’s decadent pleasures. Mystify exposes Hutchence at his most vulnerable, artistic, exploratory and reflective — excitedly waking his sister up at 4:00 a. m. to visit a cavernous spot in France described in one of his favorite books, Patrick Suskind’s Perfume: The Story of a Murderer, or talking into the morning hours about art, theater and life with close friend Chris Bailey, vocalist of The Saints. He indulged in it all, specifically reveling in the opposite sex. The film follows his relationships from his teens with Ananda Braxton-Smith — who reminisced about their early fascination with the Beat Generation and such writers as Allen Ginsberg, Charles Bukowski, Dylan Thomas, and Oscar Wilde — through his first real love, Michele Bennett, who inspired INXS’ 1988 hit “Never Tear Us Apart” from Kick. Coincidently, Bennett was also the last person the singer called and spoke to before he was found dead in a Sydney hotel, just days before INXS’ Australian tour supporting its 10th album, Elegantly Wasted, was set to kick off. Former girlfriend Kylie Minogue, who started dating Hutchence while she was already at the height of her early pop career, shares intimate video footage with him, including a lavish voyage on the Orient Express. Their union, according to Minogue, was a hedonistic exploration of sex, drugs, food, travel, books and beyond. Rare footage of the couple’s first date on a boat on Hong Kong Harbour, which Hutchence gave to Lowenstein to process years ago but was accidentally mislabeled, is also seen for the first time. Watch the trailer for Mystify below: Mystify divulges a tragic moment in 1992 that severely impacted Hutchence for the rest of his life. As he and his then-girlfriend, model Helena Christensen, stopped on the side of a narrow road to eat pizza during an evening bike ride in Copenhagen, an irate cab driver jumped out of a car and, unprovoked, hit Hutchence, leaving him bloodied and unconscious on the ground. When he eventually went to see specialists after initially refusing medical treatment, Hutchence already had lost his sense of smell and taste, something Christensen, INXS and others agree left the already passionate Hutchence acting more erratically and angry during his final years. Hutchence later confided to friend Bono that the assault changed everything for him; he would never be able to smell his baby when it was born. And following his suicide, the coroner’s report showed substantial damage to Hutchence’s brain. One crucial interview is with a woman who is only identified as Erin, who was Hutchence’s lover for several months prior to his death. She gives a direct glimpse into his mental state, including mood swings and breakdowns, amid the ongoing discord between rocker-humanitarian Bob Geldof and the ensuing custody battle following Hutchence’s affair with Geldof’s wife, Paula Yates. (Yates had three daughters with Geldof and gave birth to Hutchence’s daughter, Heavenly Hiraani Tiger Lily, in 1996. ) She once found the singer curled in a fetal position in the bathtub, bawling his eyes out, according to Lowenstein. In the film, Erin remembers her last visit with Hutchence and how she voiced her concern that he would take his own life; he assured her that would never happen. Previously, Erin had never discussed the affair, and only after consulting with some of her and Hutchence’s mutual friends agreed to talk with Lowenstein. “What I thought was amazing is that even when Michael had an affair, he would pick someone with this great heart that he could trust, and it was almost instinctive that it wasn’t going to be some crazy person that was going to rush to the tabloids and make money out of ‘my time with Michael, ’ ” says Lowenstein. “It was someone who had a conscience and sensibility and was going to do the right thing — and she was. Her story was very important, to see where his head was in those last couple of years. ” Despite having a complete story, a year into production Lowenstein still didn’t have the rights to use INXS’ music. Tangled in a rights limbo among band management, the record company and other entities, he only had Max Q tracks to work with until Tiger Lily intervened. “I made contact with her initially because I wanted her to feel comfortable with [the film] and know that there was nothing in it she has to be upset about — it wasn’t doing a hatchet job on her father and mother — so she respected that, ” says Lowenstein. “She wanted to keep in the shadows, but she did see it and said, ‘You need my father’s music. Why doesn’t it have my father’s music in it? ’ ” Tiger Lily sent an email to the band’s management and Universal Music Group, and within 24 hours, Lowenstein had nine INXS songs to use. If he could have chosen specific ones, he would have added 1980’s “Just Keep Walking” and 1981’s “Stay Young, ” which he says was Hutchence’s quasi-anthem and truly describes the film. The intimate interviews serve the film and Hutchence’s story, but Lowenstein believes they also provide a sense of therapy. “Some people are still processing it, ” he says of Hutchence’s death. “You realize that a lot of people hadn’t talked about it and given the whole thing closure, and some of these interviews did help them. You can’t just chuck it away, the experience and the grief, even if you are going to a shrink for your own reasons — a lot of people couldn’t make sense of the ending. ” Perhaps Mystify offers some clarity to any speculation of how Hutchence really died and seeks a measure of respect for how he would have wanted to be immortalized. Lowenstein thinks his friend would appreciate the film. “The Michael I knew would be very approving of the people I spoke to, who made their voices heard, ” he says. “He was always into self-criticism, too, and wasn’t faking that he was this wonderful, amazing guy. He would have wanted a film to be authentic and honest, and prepare a record of who he was and his ambitions and give his musical reputation a serious context rather than being a weird anachronism of the ’80s. He wanted to be more than the long-haired sex god of the ’80s. ”.
Mystify: michael hutchence watch online watch. Mystify: michael hutchence watch online game. I really enjoyed this documentary a lot. I felt that it did a nice job of giving us a glimpse of who Hutchence was without going too far in to the more salacious details of his life. If he had avoided the injury would his life have turned out differently? Who knows. I am just glad that we had him for the time that we did. reviews Mystify: Michael Hutchence Movie title: Mystify: Michael Hutchence Movie description: Michael Hutchence was flying high as the lead singer of the legendary rock band INXS until his untimely death in 1997. Richard Lowenstein’s documentary examines Hutchence’s deeply felt life through his many loves and demons. Date published: 2020-01-22 Director(s): Richard Lowenstein Actor(s): Kylie Minogue, Helena Christensen, Michael Hutchence, Bono Genre: Documentary My Review I really enjoyed this documentary a lot. I felt that it did a nice job of giving us a glimpse of who Hutchence was without going too far in to the more salacious details of his life. If he had avoided the injury would his life have turned out differently? Who knows. I am just glad that we had him for the time that we did. My Review - 8/10 User Review 0/10 ( 0 votes).
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Mystify: michael hutchence watch online series. MYSTIFY - MICHAEL HUTCHENCE Starttermin: 30. 01. 20 Info Er war einer der gr��ten Popstars der 80er und 90er Jahre: Michael Hutchence, Frontmann und Songschreiber der australischen Rockband INXS, dem mit Songs wie �Never Tear Us Apart� und �Mystify� Welthits gelangen. Sein ausschweifendes Leben beherrschte immer wieder die Schlagzeilen. Kaum ein Rockstar war mit seinem Privatleben so in der �ffentlichkeit pr�sent wie Hutchence, von Drogengeschichten �ber viel publizierte Aff�ren bis hin zum aufsehenerregenden Scheidungskrieg, den Paula Yates, Hutchence� letzte Lebensgef�hrtin, mit ihrem Noch-Ehemann Bob Geldof f�hrte. Und doch kannten nur wenige die wahre Pers�nlichkeit des Musikers Michael Hutchence, der �ber viele Jahre an Depressionen und einer Angstst�rung litt. Zwanzig Jahre nach seinem viel zu fr�hen Tod im Alter von nur 37 Jahren haben Ger�chte und Legenden das �berlagert, was Hutchence ausmachte: einen faszinierenden, widerspr�chlichen Mann, der mit seinem Charme und seinem Charisma Millionen von Menschen in seinen Bann zog � seine Fans weltweit, seine Freunde und seine Geliebten. Regisseur Richard Lowenstein, �ber Jahrzehnte mit Hutchence freundschaftlich verbunden, ist es gelungen, einige der wichtigsten Personen in Michael Hutchence� Leben zum ersten Mal f�r intime, pers�nliche Interviews vor die Kamera zu holen � u. a. geben Kylie Minogue, Helena Christensen sowie Michaels Geschwister und Bandgenossen Auskunft und teilen ihre Erinnerungen. Zusammen mit zahlreichen, bislang unver�ffentlichten Aufnahmen aus diversen Privatarchiven und nat�rlich Ausschnitten aus Hutchence� Liveauftritten mit INXS ist ein facettenreiches Portr�t entstanden, das der Person Michael Hutchence so nahe kommt wie noch kein Film zuvor. Kurzdaten Filmtitel MYSTIFY - MICHAEL HUTCHENCE Original Titel Mystify - Michael Hutchence Genre Dokumentarfilm Regie Richard Lowenstein Kamera Andrew de Groot Produzent Maya Gnyp, John Battsek, Sue Murray, Mark Fennessy, Richard Lowenstein, Lynn-Maree Milburn, Andrew de Groot Produktionjahr 2019 Produktionsland Australien Verleih Happy Entertainment Kinostart 30. 20 Pressekontakt Cinemaids Kathrin Stammen und Cornelia Spiering 089/442398-11/12 Im Verleih von: Presse- und Materialdownloads: Digitaler Trailerdownload: '.
A journey into the heart and soul of Michael Hutchence, lead-singer of INXS, a complex and shy man who spent much of his life in the public eye, rarely revealing his true self to anyone except his very close friends.
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Update Sept 2019. The film is showing as part of the BFI London Film Festival on 5 & 6 October in London. I'm going. Details at BFI website. Mystify: michael hutchence watch online 2017. Twenty-two years have passed since INXS frontman Michael Hutchence died, and while songs like “Never Tear Us Apart, ” “New Sensation, ” and “Need You Tonight” remain staples on classic-rock radio and at karaoke clubs, the band has had a difficult time moving forward. Despite putting out two records with different singers and launching a TV competition to find a new vocalist ( Rock Star: INXS aired in 2004), Hutchence’s shadow has loomed large over the band. That’s because the singer boasted an unmistakable voice and a unique presence, not to mention a shy offstage personality that fueled fans’ curiosity. His talent is irreplaceable. Now Mystify: Michael Hutchence — a new film by the late singer’s friend, Australian director Richard Lowenstein — attempts to tell his story through grainy home video and photos that the frontman left behind. The film, which comes out digitally and on-demand this week, presents an intensely personal portrait of Hutchence using archival interviews and new commentary from his onetime partners Helena Christensen and Kylie Minogue, his bandmates, U2 frontman Bono, his siblings Tina and Rhett Hutchence, his stepmother Susie, and producer Nick Launay, among others. It shows how his spark for creativity worked in INXS and in his failed Max Q side project, reveals the heavy pressures of fame that weighed on him, and explores how a violent attack on him changed his life. Here are 12 things we learned. 1. Michael’s family was surprised he wanted to be a frontman because he was so introverted. Tina Hutchence, Michael’s half-sister, recalls a time when she was managing the kids’ wear section of a department store and needed Michael and his brother to participate in a fashion show. His brother, Rhett, was a natural but Michael, who was nine or 10, was reticent. She had to push Michael out in front of the audience. “All of a sudden, he walked out and he [saw] the people, [and] his face changed, ” she recalls in the film. “He started enjoying himself. He started winking at me. It surprised me because he was a shy kid. … When he said he was going to sing with this band, that just surprised the heck out of me. Here’s this kid who didn’t want to walk into a room full of people, let alone sing. ” 2. When it came to making music, he was a natural. In the early part of INXS’ career, Hutchence loved recording. “He was always the first person to arrive at the studio, ” producer Chris Thomas says in the film, as “What You Need” plays. “He was really watching everything. He was the one who had a real idea of where things should go. He really did have an instinct for the whole thing. I was learning stuff from him. He wrote most of the top lines for those songs, the actual tune that the singer sings. He wasn’t just writing words; he was writing melodies. ” 3. He felt he had to compartmentalize himself to manage fame. When the band’s Kick album became a sextuple-platinum megahit, Hutchence had to get over his innate shyness quickly and figure out a way to navigate all the attention. “From the fantasy to the reality of, ‘Oh, this is actually happening, ’ that would be really tricky because I wasn’t that comfortable with it, ” Hutchence says of fame in one scene. “So I sort of invented that [big] persona with the necessity of getting through it. I enjoyed it but I had to create something that kept me inside as well. ” 4. He impressed Bono greatly. “I remember asking Michael what his definition of rock & roll was, ” the U2 singer recalls of his late friend in a reverent tone. “He said, ‘Liberation. '” 5. The way he picked up Kylie Minogue was incredibly corny — but it worked. In the doc, the “Loco-Motion” singer recalls how she met Hutchence around 1989 and asked him how he took care of his voice. He told her he had “magical drops for your throat” that he used and would be willing to share with her. Shortly after their meeting, she had to go to Hong Kong for her own career. He asked to take her to dinner there but made her wait. “Eventually he rocks up two hours late, ” she said. “He takes me out and there’s clearly something between us. ” She later forgot all about the secret potion and he ended up courting her, flying to visit her on different parts of her Asian tour. 6. When Michael’s mother decided to leave his father, she took Michael with her but left his brother, devastating the family. When the INXS frontman was about 14, he and his younger brother Rhett returned home from school to find that their mother, Patricia, had packed up their things. In the words of Tina, “Michael was the chosen one. ” Patricia told Michael to pack his bag, and they went to the States together, with Rhett crying at the airport, and stayed there for a year and a half. Patricia says in the film that she’d asked Michael in advance if he wanted to come with her and that he’d said yes. “He kept it a secret, as I did, ” she says. “Michael knew that he was going. ” Michael’s personal manager, Martha Troup, said that it was a decision that haunted Michael. “It just tore him apart, ” she says. “He felt that he didn’t deserve the success. He felt guilt. ” Rhett was raised by about seven nannies in the time Michael and Patricia were away. He says that Michael returned with a new sense of self. 7. He lost his senses of smell and taste after a taxi driver knocked him out. His onetime partner, model Helena Christensen, remembers an incident in Copenhagen in 1992 when they got pizza and rode home on bikes. They stopped to eat, and a taxi driver told Michael to move, got out, and punched him with enough force to send the singer to the ground, knocking him unconscious. “There was blood coming out of his mouth and ear, ” Christensen recalls. “I thought he was dead. ” When he came to in the hospital, he was belligerent and insisted on being dismissed. He was laid out for a month and eventually a surgeon found he had a skull fissure and that his nerves were torn; he had lost his olfactory senses as a result. “He did not want me to tell anyone, ” she says. “He didn’t even want me to tell my parents. … Things just got really heavy in his head. ” His bandmates noticed he seemed different, more aggressive, when they began work on 1993’s Full Moon, Dirty Hearts. 8. The attack seemed to change everything for Hutchence. Bono recalls how Hutchence had confided in him that he felt different after the attack. “I think he was very, very traumatized, ” the U2 singer says in the film. “He confessed to me that it changed everything for him. What was just a sweet insecurity became a deep insecurity. He kind of lost his way and forgot who he was. ” 9. He fell in love with grunge, much to his bandmates’ disappointment. During the making of Full Moon, Dirty Hearts, his interests strayed from the typical INXS sound. “He was just very erratic in his behavior but also in what we were trying to do musically, ” guitarist Kirk Pengilly says. “He certainly had gotten sucked into the grunge thing. There was a lot of times where he’d stop everything and go, ‘Hey, listen to this. This is what we’ve got to be doing. ’ So I had huge arguments with Michael over that; he was trying to make it a lot more ‘not INXS. '” 10. Noel Gallagher stomped on Hutchence’s spirits. At the Brit Awards in 1996, during a time when INXS’ popularity had waned, Hutchence presented Oasis with a trophy for “Wonderwall. ” In his acceptance speech, guitarist Noel said, “Has-beens shouldn’t present fucking awards to gonna-bes. ” Hutchence walked off with a bit of swagger but looked hurt. “That crushed Michael, ” Troup recalls in the film. “That was devastating, that moment in his life. They were massive worldwide and to go completely the other way was really hard on them and really hard on Michael. ” 11. Michael’s tumultuous relationship with TV host Paula Yates weighed heavily on him. Hutchence linked up with Yates, the wife of singer and activist Bob Geldof, in the mid-Nineties; she had interviewed him for her TV program. They had a daughter together, but the relationship turned sour after opium was discovered in Yates’ house and Geldof filed for divorce. A friend of Hutchence’s, identified only as Erin, shares diary entries she wrote when she was age 20 in the doc. In September 1997, she wrote, “Michael phones me and says Paula has tried to commit suicide. I asked how he was, and he said, ‘I’m weird in the head. ’ I said, ‘I bet. ’ He said, ‘No, you have no idea. You don’t know what I’m going through. You don’t understand what’s going on in my head. '” At one point he asked her if she was worried he’d kill himself, to which she said yes. He assured her that wasn’t going to happen. 12. Hutchence was in a good mood in the days before he died by suicide, but he began to spiral when Yates said she couldn’t see him. INXS were in Australia, rehearsing for a tour, and Yates had told Hutchence she was coming to visit with Hutchence’s daughter and her kids from Geldof’s marriage. But on November 22nd, 1997, she told him the visit would be postponed until December, due to issues with Geldof. Hutchence called Geldof and begged him to allow Yates to travel. He called his friends and managers to tell them how upset he was that he wouldn’t see his kids. “But it was more than that, ” Troup says. “He was confused about where he wanted to be, himself, in life. I went back to the office, and I heard a message. He was just really angry. He said, ‘Martha, I don’t give a shit anymore. '” But his anger turned to desperation in later phone calls. His body was found in his hotel room around noon that day. The doctor says that the coroner ruled a few months later that Hutchence had died by suicide.
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Documentary biopics about tortured geniuses are a dime a dozen, and while Richard Lowenstein's tribute to late INXS frontman Michael Hutchence doesn't exactly reconfigure the form, it should prove essential viewing for the subject's fans: a tender portrait of the man's highs and lows that sheds new light on the broken years that directly preceded his suicide at 37. Mystify: Michael Hutchence made its hometown debut at the Sydney Film Festival last week after earlier premiering at Tribeca. Lowenstein directed several clips for INXS as well as casting Hutchence in his 1986 feature Dogs in Space, and his proximity to the singer's sphere has helped him to enlist former girlfriends (Kylie Minogue, Helena Christensen) and friends (Bono) in telling his story. Some of them have even provided camcorder footage and photographs from their personal collections. Their recollections play underneath tour footage and snippets from the band's media appearances at the height of their fame, soundtracked by some of the group's biggest hits and an elegiac score by Dirty Three's Warren Ellis. Hutchence himself emerges as a sweetly shy character, with killer looks and a certain ethereal quality that made him irresistible, in a manner not dissimilar to Ayrton Senna. Asif Kapadia's 2010 portrait of the F1 legend is arguably ground zero for the current boom of biodocs that eschew talking heads for archival collage, though Lowenstein smoothly integrates interviews with figures — managers and record producers, Hutchence family members and personal assistants — who never appear onscreen. The band's formation and early days touring Australia are dealt with swiftly, underlining the sheer number of gigs that honed Hutchence's voice and electric stage presence before INXS broke out with international singles like "What You Need, " "Need You Tonight" and "Never Tear Us Apart. " The latter was inspired by the singer's breakup with girlfriend Michelle Bennett, who talks movingly about the toll that touring exacted upon their relationship. Minogue, too, speaks affectionately of her former beau, and the pleasures — food, sex, travel — that defined their time together. The director and his co-editors Tayler Martin and Lynn-Maree Milburn double back, after tracking the star's ascent, to his childhood, where a lifelong sense of guilt was instilled in the boy when his mother split and took Michael along — but left his little brother behind. The good qualities Hutchence inherited from his parents are nevertheless convincingly sketched; a certain star power from his model turned makeup artist mother, and from his father an ability to put people — women in particular — at ease. Hutchence is heard summarizing Patrick Suskind's novel Perfume for Minogue's benefit, and the late singer's fixation on the book attains a kind of ironic fatalism when he's punched by a taxi driver, years later, while out cycling with Christensen — and loses his sense of smell. Christensen recalls the anger the incident engendered in her hitherto gentle boyfriend, and his insistence it be kept secret. This is reinforced when his bandmates recall how much their frontman changed after the "bike accident"; how much they knew about the incident is left dangling. The downward spiral that follows is compounded by the declining fortunes of the band, crystallized by Noel Gallagher publicly labeling the singer a "has-been" onstage at an awards gala while Hutchence looks on, as well as the London tabloid frenzy surrounding his relationship with Paula Yates, the wife of Bob Geldof. His eventual death in a hotel room is attributed to the pain caused by his separation from Yates and their daughter once the singer embarks on the Australian tour that would become a final homecoming. Lowenstein includes tracks by Hutchence contemporary Nick Cave and Nils Frahm (along with Ellis, Cave and Frahm composed the score for the director's last film, 2015's Ecco Homo) in addition to INXS hits. But even more than the music, what shines through is the lead singer's magic as a live performer. The film takes its title from the band's 1987 single, and it captures the strange alchemy that occurred when Hutchence went onstage — transforming from an uncertain young man into a rock god with a lightning gaze who embodied come-hither confidence. Production companies: Ghost Pictures, Passion Pictures Director-s creenwriter: Richard Lowenstein Producers: John Battsek, Andrew de Groot, Mark Fennessy, Maya Gnyp, Richard Lowenstein, Lynn-Maree Milburn, Sue Murray Cinematographer: Andrew de Groot Editors: Tayler Martin, Richard Lowenstein, Lynn-Maree Milburn Music: Warren Ellis Venue: Sydney Film Festival Sales: Dogwoof 102 minutes.
Today I attended a Melbourne media preview for Mystify, director Richard Lowenstein’s documentary about his friend Michael Hutchence, lead singer of the band INXS, who died by suicide in 1997. Michael was my friend once, too. We were a year apart in age and we met not long after we both moved to Sydney in 1979. Back then, I was an Australian rock music writer. As a rock writer, I wrote a number of articles about Michael and about INXS. More recently, I’ve written two memoir pieces about Michael as I knew him [links at bottom]. Today, I was fortunate to attend the preview as the guest of my friend Jen Jewel Brown, a prominent Australian rock music writer (writing as Jenny Hunter Brown or Jenny Brown), who also knew Michael back in the day, and who co-wrote the 2018 Michael Hutchence biography Michael: My brother, lost boy of INXS, with Michael’s sister Tina Hutchence. At the end of Mystify, Jen and I sat transfixed. Afterwards, we talked for hours. I sincerely hope Richard Lowenstein’s sensitive, intimate portrait of Michael as recalled by the people closest to him reaches its audience. It would be a travesty if Mystify got lost in the wake of the many previous accounts of Michael’s life. In addition to Tina and Jen’s book last year, published biographies include: Toby Creswell’s Shine Like It Does: the life of Michael Hutchence (2017); Michael In Pictures – A Celebration of the Life of Michael Hutchence by Richard Simpkin (2015); Total XS by Michael’s brother Rhett Hutchence (2004); Paula, Michael and Bob: Everything you know is wrong by Gerry Agar (2003); Michael Hutchence: Just A Man: the real Michael Hutchence by Tina Hutchence and Michael’s mother Patricia Glassop (2000); Michael Hutchence: The Devil Inside by Vincent Lovegrove (1999); and The Life and Death of Michael Hutchence by Mike Gee (1998), also released as The Final Days of Michael Hutchence. There have been TV dramatisations and documentaries: The Day the Rock Star Died (2019); The Last Rock Star (2017); the mini-series Never Tear Us Apart: The untold story of INXS (2014); Autopsy – The last hours of Michael Hutchence (2014); The Life and Death of Michael Hutchence (2014); Behind The Music Remastered (2010); True Hollywood Story – Michael Hutchence (2004); True Hollywood Story – Rocked To Death: Michael Hutchence (1999). Some of these accounts are outright exploitation. Others are attempts by people who knew Michael to tell his story as they understood it, or as they want the public to perceive it. Michael’s story is highly contested: it’s been told many different ways. In Mystify, Richard Lowenstein presents Michael through footage filmed by friends and family, and outtakes from live performance and music video shoots. His friends, lovers and bandmates provide commentary superimposed on images from the time. Some of the footage, photos and mementoes are breathtakingly personal. Kudos to the women with whom Michael had significant relationships who have chosen to speak honestly and insightfully, and who gave permission for private mementoes to be featured. That they do this from love, not from any self-serving motive, is abundantly evident. Kudos to the band members and fellow musicians who speak about Michael as they knew him, for better and for worse. Kudos to Lowenstein (director of numerous INXS videos, Michael’s director in the feature film Dogs In Space), whose voice is not heard but whose commentary is expressed through his editing choices and the narrative structure. A few things are brutally clear. Michael’s life was irrevocably altered by Acquired Brain Injury (ABI). He acquired brain injury in 1992 when a Danish taxi driver knocked him down on a cobblestone street in Copenhagen. His partner at the time, Danish supermodel Helena Christensen, recalls blood coming from his ears and his mouth. She recalls him insisting on leaving hospital, being nursed by her at home for the following month. He kept the extent of his injury from others. Perhaps he never fully recognized the extent to which head injury damaged him. But the brain scans exist: Michael had frontal lobe damage, which will have affected his emotional regulation and behaviours. He lost the sensory perceptions of taste and smell, which, for a sensualist like Michael, was tantamount to losing who he was. In truth, the Michael I see in footage from the last years of his life is not the Michael I knew. His bandmates say it isn’t Michael as they knew him, either. The Michael presented in those final years is panicking, desperate, lost, humiliated. For those of us who cared for him, it’s hard to watch. Afterwards, I felt like I’d been hit by a cannonball. “I feel sick, ” I said to Jen. She felt sick, too. I told Jen the last time I saw Michael was during the recording of their mega-album Kick, in 1987. He was walking up William Street in Sydney, towards Kings Cross. I was walking downwards, towards him. He was wearing a long loose beige coat. I was wearing red. He invited me to join him at Rhinoceros Studios, to help him fill in time between takes, chatting. Or maybe it was that time when he stopped by my table in a crowded restaurant, and everyone in that room craned to check out who he’d deigned to talk to, strained their ears to hear what we talked about. But actually, that wasn’t the last time I saw Michael. The very last time was New Year’s Eve 1988, when we were both at the same party at a fancy harborside mansion. He arrived trailing his model of the moment, an Amazon with sky-high cheekbones. We nodded. But by then INXS were major international stars, and I turned away without speaking to him. Michael Hutchence was a real person, very real. I’ve heard him dismissed as a poser, a wally, a twat. For me, he was a sensitive, talented, inquiring young man, entranced by glamour, dreaming big. For years I thought the life he lived after that New Year’s Eve epitomized success: Michael living happily ever after, in the sunshine of the south of France. I was disabused of that belief when Michael died. In Mystify, I now see those years presented as a drawn-out descent into exhaustion and eventual dehumanization, as the tabloids chewed him up. In one of the Mystify reviews I’ve read, it’s suggested Michael made a Faustian pact: “success”, at the cost of a life worth living. I’m not sure who it’s implied is the Devil in this pact. I don’t think it’s “the devil inside” (to quote the song). I do know fame’s a bitch. ♥ FOOTNOTES: Link to my blog tribute to Michael Hutchence, with personal reminiscences – Someone Famous, With Girl (2014) Excerpt from my blog post W for War (2017). In its totality, this piece is not about Michael and there is some repetition with my Mystify blog post and my blog post Someone Famous, With Girl, above. W for War is, I suppose, about my own personal disillusion with previously held notions of “success” and “glamour”. It’s quite naked and wasn’t really written to be read (true confession! ): Let’s begin with Michael Hutchence’s death. That’s a cynical place to begin, because of course it – any “it” – began much earlier. But this is a cynical tale, so let’s start where Michael ended. One morning late in 1997 I arrived at my Knightsbridge [London] workplace – the office with W emblazoned above the reception desk – and the tabloids on the foyer table screamed that Michael Hutchence was dead. Found hanged behind a hotel room door. I don’t remember much of that day but I do remember getting home at about 7. 30pm and crying hysterically for two hours. Michael had been an acquaintance, possibly a friend, of mine. He was a year or so older than me and we’d arrived in Sydney at much the same time. In my first week in Sydney I saw Michael and his band, INXS, play at the bottom of a four-band bill at the Stagedoor Tavern. I say “saw”, but the Stagedoor was so crowded, so dark, I couldn’t see the stage. I became a rock music writer, Michael became a rock star. I interviewed him when the band were unknowns, then when they achieved national fame; I hung out with him while INXS recorded their international breakthrough album Kick, I met up with him occasionally and we nattered. I wrote him a poem, at his request: stops at the sound of his name called by a stranger – then recalls who she is and forgets himself: it’s you he smiles (he always means it) he laughs (and feels abashed) her eyes mirror his she is his (they always are) they are both young veterans they both can remember moments of belief, of the only kind he’ll know all strangers his kind. He is kind, or he could be, this singled out outsider he takes her camera and asks Am I in there? Someone Famous, With Girl (1985) In 2014 I wrote a blog about Michael that stops at that poem and bears its title. The last time I saw Michael was New Year’s Eve 1988. I was at a party at a Sydney harborside mansion. Michael was there, with model-actress Virginia Hey. I was femme’d up – stiletto heels, a satin bubble skirt, ‘80s long hair – and we exchanged formal nods. My heels sank into the lawn and mosquitoes bit my shins. As INXS conquered the U. S. charts, and as stories about Michael’s jet-setting lifestyle cluttered the tabloids, I came to see Michael as symbolic of “success”: Michael was the one who’d made it. I envied him his home in the south of France, his London pad, his famous friends. I envied him the Good Life with the Beautiful People. Even when paparazzi ambushed him and Paula Yates that notorious Sunday morning on their weekend ‘getaway’ (as if), even as I grew anxious for his well-being, I still saw Michael as representing success, and I still saw success as luxury and celebrity. That night, after Michael’s death, I had a nightmare that another of my rock star acquaintance-friends, a peer of Michael’s, Marc Hunter, had hanged himself too. (Marc died a few months later, of throat cancer; I didn’t know he was ill). I wore black to work the next day, and a small cross, and Liza Minnelli sad eyes, and I told my boss and another workmate about my nightmare. Michael’s death was all over the papers, or should I say, the papers were all over Michael’s death. I worked at a media planning agency, with 50 young men, two young female media planners, and four admin support staff (all female). Almost all staff were aged under 30. There were jokes about rock star deaths. Rock star deaths proved such a hit that our Xmas Party Social Committee decided to make that the Xmas party theme: Dead Pop Stars. The 33 year old who headed up the committee announced his intention to go as Michael Hutchence, in blue face, with a rope around his neck. I said that if Dead Pop Stars was the theme, I – the marketing director – would not attend the Xmas party. The theme was amended simply to Pop Stars. My boss told me other staff complained I was making something out of nothing. They didn’t believe I’d known Michael Hutchence. My boss told me to buck up. I decided to use the shock of Michael’s death to make changes in my life. I took to jogging around the Serpentine in Hyde Park during my lunch break, a short-lived practice. On about my second run I emerged from the lift and stepped into the office foyer as my boss was waiting to take the lift down. I glared at him; I was embarrassed at being seen in lycra shorts. My boss asked, “You look at me as if you hate me. But I’m the only friend you have around here. ” That, I think, is a truer beginning. Author: Elly McDonald Worked in the Australian rock music industry as a journalist and published widely as a poet before moving to London and spending the better part of a decade in advertising agencies. Returned to Australia and tried teaching, primarily teaching English to non-English speaking, newly-arrived refugees but also briefly as a high school classroom teacher. Has travelled Western Europe, North Africa, Russia, Northern India, East Asia, coastal USA, some Pacific Islands, and Australia.
Mystify: Michael Hutchence Theatrical release poster Directed by Richard Lowenstein Produced by Maya Gnyp John Battsek Sue Murray Mark Fennessy Richard Lowenstein Lynn-Maree Milburn Andrew de Groot Written by Richard Lowenstein Starring Michael Hutchence ( See below) Music by Warren Ellis Cinematography Andrew de Groot Edited by Tayler Martin Production company Ghost Pictures Passion Pictures BBC Music  Distributed by Madman Ent. (Australia) Dogwoof (International)  Release date 25 April 2019 ( Tribeca) 4 July 2019 (Australia) Running time 102 minutes  Country Australia United Kingdom  Language English Box office $1. 1 million   Mystify: Michael Hutchence is a 2019 documentary film about the life of musician, actor and singer-songwriter Michael Hutchence, lead vocalist of the Australian rock band INXS. It is written and directed by Richard Lowenstein and relies primarily on rare archive footage, outtakes, private home video and audio commentary provided by friends, ex-partners, band members, record producers and family. An Australian-British venture, the film was co-produced by Ghost Pictures, Passion Pictures with Madman Entertainment and Dogwoof serving as distributors. It is in association with Baird Films and Film Victoria. Mystify: Michael Hutchence had its world premiere at the Tribeca Film Festival on 25 April 2019, and was theatrically released in Australia on 4 July 2019.   The film was released in the United Kingdom on 18 October receiving generally positive reviews from critics. Synopsis [ edit] Mystify covers the life of INXS lead singer Michael Hutchence which features private home video and archive footage. During the relationship between Minogue and Hutchence, previously unseen privately shot footage shows them in Hong Kong harbour, on board the orient express, and at Hutchence’s home in the south of France. In the early 1990’s an incident occurred while bicycling on holiday in Copenhagen with then girlfriend Helena Christensen, where Hutchence gets shoved to the ground by a taxi driver, hitting his head on the curb and losing consciousness. According to Christensen, Hutchence was rushed to hospital and woke up determined to leave. The injury resulted in Hutchence having permanent loss of sense of smell and taste. Clips show Yates and Michael Hutchence in a 1985 interview on Channel 4 's rock magazine programme The Tube and many years later on The Big Breakfast interview in October 1994. Recollections with voice-overs in the film include Michele Bennett, Kylie Minogue, siblings Rhett and Tina Hutchence, father Kelland Hutchence, stepmother Susie, producer Nick Launay, Bono and INXS band members, composer and keyboardist Andrew Farriss, guitarist Tim Farriss, bassist Garry Gary Beers and drummer Jon Farriss. The film ends with INXS performing at London’s Wembley Stadium and the song "Mystify" plays over the credits. Production [ edit] Development [ edit] Plans for a biographical drama film about Michael Hutchence were being developed with a script written by Australian film-maker Richard Lowenstein. Lowenstein had previously collaborated with Hutchence in Dogs in Space and INXS music videos. The film was to feature an actor as Hutchence, however the idea of casting someone proved very difficult and with the announcement of the miniseries INXS: Never Tear Us Apart, it made the director switch to an archival documentary.  The documentary film gathered early development funding and support by the Australian Broadcasting Corporation (ABC), Screen Australia and Film Victoria.  A pitch trailer was produced and shown at the 2016 Australian International Documentary Conference in Melbourne where BBC Music took interest.  In July 2016, it was announced that a documentary film about the singer-songwriter Michael Hutchence had the official support of INXS band members and manager Chris Murphy, with Richard Lowenstein signed on to direct.     The director conducted the first interview (for the biopic research) in 2010 with U2 lead singer Bono who were on tour in Melbourne. Band members from INXS were then interviewed and filmed in 2011, gradually building up an archive of footage.   During the interview process, Lowenstein had decided to record just the audio, having individual interviewees in a dark recording studio. A total of around sixty people were interviewed.   Tapes of archival footage of varying quality were found in the directors attic lost for twenty years.  In October 2017, long negotiations began for the rights to use INXS music in the film, but ended with no deal due to a dispute with Murphy of Petrol Records over the documentary’s ownership in return. This lead the director to produce an edit of the film with no music from the INXS catalogue.  Eventually, Lowenstein made contact with Hutchence’s daughter Tiger Lily (the daughter of Hutchence and Paula Yates) in London, through Susie Hutchence’s advice. Lowenstein flew to London in October 2018 to meet. After viewing a rough cut of the film, Tiger Lily made contact with the band’s management and record company. A day later, a deal was struck to use nine INXS tracks.  The post-production and supervision of the film were completed by United Finishing Artists with the sound mixing done at Soundfirm, Melbourne.  Music [ edit] Composer Warren Ellis was in charge of the film's music and score.  The documentary features various digitally-restored tracks which were remixed by Giles Martin in Dolby Atmos supplied by INXS. Music also included are by Hutchence, Max Q with Ollie Olsen, Kylie Minogue, Nick Cave, instrumentals by Ólafur Arnalds and Nils Frahm.  The film includes tracks, such as: " Never Tear Us Apart " and " Sometimes ".  Lowenstein stated that there has been no official soundtrack album released,  however, a complementary album was released on 5 July 2019 titled Mystify: A Musical Journey with Michael Hutchence. Release [ edit] The world premiere of Mystify: Michael Hutchence took place in Manhattan at the Tribeca Film Festival on 25 April 2019, including a live Q&A session with the film’s director after the screening.  Over the next few months it played in festivals around Canada, Australia, Czech Republic, Germany and New Zealand, building anticipation: at the Hot Docs in Toronto, Sydney, Munich and New Zealand Film Festivals.     Advance screenings with Lowenstein in attendance for special Q&A sessions followed in June, at the Astor Theatre in Melbourne, Ritz Cinema in Sydney and the European premiere held at the Karlovy Vary International Film Festival.    An official trailer was released on 4 June 2019 and featured the songs " Mystify " and " Never Tear Us Apart " by INXS.   It was released in cinemas across Australia on 4 July and in New Zealand on 12 September through Madman Entertainment.  Initially the film was screened out of competition during the BFI London Film Festival on 4 October 2019 at the Curzon Mayfair Cinema   and then released in the United Kingdom on 18 October through Dogwoof. The Netherlands saw a release on 24 October by Piece of Magic entertainment.   In the United States Fathom Events and Shout! Factory will theatrically release the film for one-night-only on 7 January 2020.  Broadcast [ edit] In Australia, the documentary was aired by ABC Television during 24 November 2019.  Channel BBC Two aired the film in the UK on 28 December.  Home media [ edit] It was released on DVD, digital and Blu-ray disc in Australia by Madman Entertainment on 25 November 2019.  It contains twelve special features including early days - where they discuss the band’s formation, acting, discussing Prague where three INXS music videos were filmed and Professor of Psychiatry, Steve Ellen’s analyses into Hutchence’s death.  Dogwoof released the film in the U. K. and Ireland on 9 December. The extra features include an interview with director Richard Lowenstein and producer Chris Thomas, deleted scenes and theatrical trailer.   It entered the UK Official DVD Chart at No. 98, the week ending 21 December.  Reception [ edit] Box office [ edit] Mystify: Michael Hutchence grossed A$ 1. 1 million (US$705, 044)  in Australia and $453, 851 in other territories, for a total worldwide gross of $1, 158, 895.    Australia [ edit] In Australia it made A$368, 642 (US$257, 216) from 114 screens including previews and festival screenings, in its opening weekend, finishing tenth at the box office grossing A$485, 825 ($338, 979) in the week ending 7 July.    It made another A$179, 000 ($125, 772) from 79 screens in its second weekend with a 51% decrease from the first week; finishing thirteenth and grossing A$761, 000 ($534, 167) through 11 days.   On its third weekend the film made A$83, 000 ($58, 678) from 55 screens finishing seventeenth grossing a total of A$893, 000 (US$628, 874).   After the fourth week of release, the film shown on 61 screens had a total of A$988, 000 crossing the A$1 million mark before the following weekend.    On its ninth week at the end of August it was played on 10 screens grossing a total of A$1, 141, 000.   Other territories [ edit] On its first weekend in New Zealand it made US$8, 713 across 21 screens. It made another $1, 329 from 7 screens on its second weekend. By its fifth week it had grossed a total of $14, 699.   In the United Kingdom it made £62, 776 ($81, 453) from 8 cinemas with an average of £7, 847 ($10, 182) per screen in its opening weekend, finishing twelfth at the box office.   It made another £10, 146 ($13, 021) in its second weekend, with the film added to 3 screens over the previous week for a total of 11; grossing £79, 199 ($101, 641) through 12 days.  In its third weekend it made £4, 578 ($5, 929) shown on 9 cinemas,  and in its fourth weekend the film fell 72% to £1, 434 ($1, 834) screened at 4 cinemas.  On its fifth weekend it made £1, 353, a drop of 6% and on its sixth it made £621 on 3 cinemas.   On its seventh weekend it made £3, 139, a 405% increase of over the previous week to have a U. box office total of £110, 345 ($142, 767).  Critical response [ edit] Upon its premiere at the 2019 Tribeca Film Festival, the film received positive reviews from critics. On review aggregator Rotten Tomatoes, the film holds an approval rating of 100% based on 35 reviews, with an average rating of 7. 26/10. The site's critical consensus reads, "Engrossing for casual listeners as well as hardcore fans, Mystify: Michael Hutchence sheds a poignant light on a life and career cut short by tragedy. "  Metacritic assigned the film a weighted average score of 73 out of 100, based on 8 critics, indicating "generally favorable reviews".  Variety film critic Katherine Turman described it as "While Mystify in many ways amplifies the tragedy of Hutchence's death, it also goes a long way toward explaining and humanizing it. "  In a positive review for Vogue, Laird Borrelli-Persson wrote " Mystify is proof that Hutchence was, and is, much loved. Also missed, in excess. "  Graham Fuller of Screen International called the film a "Stand-out documentary" and wrote, "The densely woven and worshipfully presented archival footage of the INXS frontman, on stage and off, is a reminder that in terms of wild talent and Dionysian sexiness, he belongs in the same company as Mick Jagger, Jim Morrison, and Robert Plant. " He concludes: "What lifts it above the majority of documentaries about celebrities and artists is its extraordinary intimacy. "  Harry Windsor, writing for the Hollywood Reporter, said: "It should prove essential viewing for the subject's fans: a tender portrait of the man's highs and lows that sheds new light on the broken years that directly preceded his suicide at 37. "  Leigh Paatsch writing for the Herald Sun gave the film 4/5 stars, saying: "Quite wisely, the new documentary Mystify: Michael Hutchence doesn't concern itself with smoothing out all the erroneous wrinkles that have crumpled the late INXS frontman's life story over time. "  Karl Quinn of The Age called the film Lowenstein's "slow-burning labour of love. "  The Australian 's David Stratton summed up the film as "a terrific documentary, and as complete a portrait of this talented singer as you could wish. " calling it "a detailed and revealing portrait"; he rated the film four out of five stars.  Vicky Roach from The Daily Telegraph gave the film 3 out of 5, saying: "While it’s more visually interesting, there are times when this storytelling device results in a kind of emotional disconnect. And although they corroborate Lowenstein’s version of events, the band’s role in Hutchence’s story feels strangely under-amplified — emotionally and musically. " She summed up the film as "A measured, personal, densely woven account of the man behind the myth. "  DM Bradley, writing for the Adelaide Review, said: "Richard Lowenstein’s beautifully sad documentary study of the all-too-short life of his late friend Michael Hutchence is a most moving memorial, and rather more about the man than the music. "  Graeme Tuckett from gave the film 3. 5 out of 5 stars, saying: "Mystify is unapologetically one for the fans. But, seeing it as someone who thought he didn't particularly care about Hutchence's story, I was moved. "  Eddie Harrison of The List awarded the film 4 out of 5 stars, remarking that "Mystify can only be a cautionary tale, yet there's plenty of evidence that Hutchence was an electrifying performer in his prime. "  Time Out ’s, Philip De Semlyen described it "As the tragedy unfolds, there's a strange solace in seeing this captivating enigma somehow emerging intact", giving it 4 out of 5 marks.  The Sunday Times Edward Porter gave it three out of five stars, wrote "There are insights into the gloomy later years, but it's memorable chiefly for its envy-inducing picture of the upside of being a rock star. "  Accolades [ edit] ASSG Best Sound for a Documentary: Robert Mackenzie - Re-Recording Mixer & Sound Designer, Simon Rosenberg - Dialogue Editor, Mick Boraso - Sound Designer, Lynn-Maree Milburn - Additional Sound Designer.  See also [ edit] List of Australian films of 2019 List of documentary films INXS References [ edit] ^ "Media Centre Mystify Michael Hutchence announced by BBC Music and BBC Two". BBC. 26 April 2019. Retrieved 5 August 2019. ^ "Mystify: Michael Hutchence (2019)". Screen Australia. July 2019. Retrieved 5 August 2019. ^ "Mystify: Michael Hutchence". Australian Classification Board. Department of Communications and the Arts. Retrieved 5 August 2019. ^ a b c Fuller, Graham (27 April 2019). " ' Mystify: Michael Hutchence': Tribeca Review". Screen International. 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Whatcha gonna do.
Mystify: Michael Hutchence Watch online. Director Richard Lowenstein's tribute to the INXS frontman paints an affectionate, intimate and immersive portrait of a fallen rock star, disentangling him from the tabloid hot air surrounding his 1997 death. Archive footage and new interviews (friends, family, bandmates and lovers, Kylie included) humanise Hutch, giving equal weighting to his charisma, sensitivity and sensual pursuits. But it's the detailed, cumulative effects of a random assault, career crises and family troubles that hit hardest, creating a grim, palpable sense of how trapped he felt on his final night. Mystify: michael hutchence watch online movies. Mystify: Michael Hutchence Watch online poker.
It's clear that MH was deeply troubled and suffered poor mental health. It's clear that he was exploited by many over the years. It's also clear that INXS were a pop band that was nothing without Michael and Paula was not the world's best influence.
In the end though the doc is very one sided/whitewashed bringing nothing new to the table. Don't think I even moved from my seat I was so engrossed in Michael's story. I loved how it was made with just footage of Michael and his life, and the voices of those in his life just talking about their time with him. I was so emotional at the end I could not hold back my tears for such a beautiful human being.
So grateful to see this documentary about a man and his his band who brought so much joy in their music to so many.
R ichard Lowenstein’s long-gestating documentary Mystify: Michael Hutchence has finally arrived after a decade in the works. In a sense, the veteran indie auteur has been chipping away at the film even longer than that, since the early days of his career, having directed several music videos for INXS – the Australian rock band the renowned singer-songwriter fronted. Lowenstein also helmed the endearingly scuzzy 1986 sharehouse drama Dogs in Space. This bong water-soaked, couch-crashing classic features a rare leading performance from Hutchence himself, with whom the director was friends. Lowenstein has described Mystify as an apology for not being there for the late musician, who took his own life in a Sydney hotel room in November 1997. In this sense, then, it’s no surprise Lowenstein seems to struggle to determine the best narrative hooks with which to frame Hutchence’s story: a case, perhaps, of a film-maker being too close to his material. Mystify is a heavyhearted portrait of a highly talented and complex person, who soared to great heights and plummeted to dreadful lows. How much viewers will get out of it will depend (as is the case with most films about real-life musicians) partly on how much they admire Hutchence going in. Michael Hutchence in Mystify. Photograph: Madman Loads of home footage, clips from performances and a wide range of interviews with people close to the subject make the film a must-see for lovers of INXS. Sadly, it pales in comparison with the director’s other documentaries – including the captivating Autoluminescent: Rowland S Howard and the deeply engrossing Ecco Homo. The latter, which explores the life of another friend and collaborator of Hutchence, the elusive artist Peter Vanessa “Troy” Davies, was inventively framed as part detective story and part freaky eulogy, etched in the post-punk, drug-washed haze of Melbourne circa the 80s. Davies was not a superstar like Hutchence, so Lowenstein’s challenge involved explaining why his story matters and what this man’s life signified in a broader cultural context. Those elements are lacking in Mystify. From its introductory moments, depicting Hutchence performing Never Tear Us Apart in front of an adoring crowd in a smoky, packed-out venue, there is a sense of reverence and implied genius that runs throughout the film. Frustratingly, Lowenstein doesn’t let the musician’s talent speak for itself. The film includes snippets of many of his performances, but they are clipped and come and go quickly: a few moments on the stage here and there. I found myself regularly wishing that the director would slow down the pace and let these moments breathe, allowing the audience to savour Hutchence’s vitalising presence and charisma – and, of course, that bewitching voice. Interviewees include Kylie Minogue, who reflects on her years with the singer. Photograph: Madman Martin Scorsese included near-complete renditions of several songs in his Bob Dylan documentary, Rolling Thunder Revue. The effect was striking, like a kind of editing room equaliser: allowing rhythm and energy to be momentarily driven by the artist himself, rather than part of the more pressure-packed, chopped-up style of a film like Mystify – a film cut six ways to Sunday. It finally hits its stride towards the end, when it obtains an interesting journalistic quality. There are some bold suggestions and talking points – including the possibility that Hutchence’s loss of smell (after sustaining a brain injury) increased his sense of a loss of self. Exploring the musician’s relationship with Paula Yates, among several other turbulent aspects of his life, the director makes a point that these types of narratives are never clear-cut; that a person unravelling, in so many areas and with such devastating consequences, entails complex considerations and rarely – if ever – is there a single moral or cut-and-dried perspective. Lowenstein also makes the bold decision to use audio from interviews with no accompanying images, dislocating what we see and what we hear. This approach has worked to striking effect in several films, including Senna and the electrifying Adam Goodes documentary The Final Quarter. But those films feel very different, more like comprehensively referenced visual essays than, a collection of deeply personal ruminations in a documentary that attempts to distil the essence of a person’s life and character. When people close to Hutchence forlornly discuss aspects of his life and personality, viewers want to see their faces; we want to fully register their emotions. Interviewees include Kylie Minogue, who reflects on her and Hutchence’s romantic years pursuing a hedonistic lifestyle. Charming home footage shows the two lovebirds on a yacht and then holidaying in Europe, but in this film sadness is never far away. Minogue reflects with melancholy on Hutchence as a broken man, sobbing uncontrollably on all fours. Small but powerful moments, like these, are the ones that stay with you.
He was definitely killed.