Dir: Mat Whitecross, 2016
What can you say about something, when it’s already been said?
Oasis: Supersonic charts the rise and fall of one of the most important bands in British music.
From the formation to the disintegration, the documentary is more about the antagonistic relationship of the brothers, Noel and Liam Gallagher.
The story itself is interesting. It’s the interviewees that’s the problem. Comprised of entirely archival video footage, the interviews are audio, only.
A frustrating film, its strengths are also its weaknesses. It’s very much reminiscent of a Gordion knot.
To hear everyone’s feelings about Oasis, is a fascinating insight. Unfortunately, they talk a load of rubbish in doing it. Engrossing and irritating at the same time.
Hailing from Manchester (or ‘Madchester’, as the tabloids liked to play it as), there is a certain pattern of speech, loaded with colloquialisms that, often, come across as non-sensical and incoherent.
It’s clear, that Oasis were their own worst enemy; in this case, having Liam as a member.
Foul mouthed, cocky, arrogant and just, generally, a pratt, Liam was/is too immature to be in a band.
Although, not displaying the same heightened sense of egotism, Noel does have his moments of being a pillock.
But, the two are like chalk and cheese or oil and water. Where, the older Noel took his work seriously, Liam just used the band as an excuse to cause mayhem and chaos.
Watching this, you kind of get the feeling that Liam Gallagher (whose real name is William) is nothing more than an invention, created by someone who’s seen too many stars of music and tried to emulate them. There is nothing original about the younger Gallagher. He tries to be sort of a mish-mash of Johnny Rotten, John Lennon and Keith Moon.
Listening to the other members of the band, they seem to take a certain level of pride in this chaotic behaviour.
To be fair to Noel, he does seem to be grounded in reality, realising the importance of what he’s doing and doing it, purely, for the love of the music.
Oasis: Supersonic is more of a dedication to the band, rather than a warts-and-all tale.
If Whitecross had taken a less idolised approach, and balanced it with the negativity that is so, blatantly, prevalent, then the film could have been an absolute winner.
As it is, we’ve got a love letter to, what is undoubtedly, an important part of the nineties music scene.
If you’re a fan of the band, then you’ll love it. On the other hand, if you’re not a fan, like me, then it maybe worth giving it a miss.