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DIRECTED BY: Morgan Neville
FEATURING: Voice of Pharrell Williams
PLOT: An autobiographical documentary about hip-hop producer/musician Pharrell Williams, with all interviews and dramatizations recreated in Lego animation.
COMMENTS: Pharrel Williams, of course, is well-known as the composer and producer of such hits as… um… well, I confess I can’t actually remember any of the titles. With his band/production unit the Neptunes, Pharrel has worked with a lot of other performers whose names I’ve heard but whose tunes I can’t hum: Kendrick Lamar, Gwen Stefani and No Doubt, Jay-Z, Justin Timberlake. He primarily produces and sells “beats” (as an old fogey, I still haven’t adjusted to the fact that “beats” have replaced “songs” as the primary unit of pop music). All of them have the quality of being “catchy”: i.e., unique enough to tickle your ear, but generic enough to feel familiar and comfortable.
I write the above not to praise my own snobbishness or to disparage Williams’ art. He’s clearly an accomplished pop craftsman, but his musical style just isn’t my thing. But the remarkable thing is that, by telling what otherwise would be a self-serving, by-the-book musical biodoc about a subject I don’t care about through the unexpected format of Lego animation, Williams captured my attention. It’s a gimmick, but it works: not only is it visually (and even synesthesially) interesting, but there is just enough resonance between Lego blocks and the modularity of the creative process to make for an apt metaphor.
It is, of course, amusing to see scenes like Lego Pharrell Williams meeting Lego Snoop Dogg. A plastic box labeled “PG Spray” puts a smile on everyone’s face during their audience, which embodies the carefree, child-friendly approach to Williams’ story. The film never loses its optimism that everything will always work out for Pharrell (and, it suggests, for anyone else who adopts his gee-whiz, gung-ho workaholism. But, in between the cute cubist celebrity cameos lie more ambitiously animated sequences. The Lego visuals, supplemented by digitally-applied neon, demonstrate more grandeur than expected. The tone is set in an early dream scene where a blocky yellow Triton knights young Pharrell in his undersea kingdom. It’s best exemplified by a bravura sequence where the musician explains his childhood synesthasia: he sits before speakers blaring a Stevie Wonder LP, which draw him into a trippy world where sound becomes “beautiful cubes of light cascading” over his blissed out Lego features. Pharrell’s commercial beats are depicted throughout as bouncing blocks arranged in novel geometric patterns with blinking lights attached. There also are singing whales, and a trip into space where Carl Sagan delivers cosmic wisdom. Piece by Piece may not be completely accurate, or provide much practical insight into the creative process, but it accurately conveys the ecstasy of inspiration that keeps artists slaving away at their craft. Like any mega-celebrity, Williams is primarily a marketer, devoting more care to the sizzle than to the steak. And this is great sizzle.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “Anonymous,” who correctly noted “most of the weirdness is solely in the visuals, in a Fantasia sort of sense.” Suggest a weird movie of your own here.)
