There’s a moment in Katy Perry: Part Of Me where reality and fantasy uncomfortably collide.
The buxom wide-eyed pop singer, mostly cheerful, professional, goofy and charming, breaks down in a make-up chair. She doesn’t explain why she’s profoundly sad but she doesn’t really have to. Near the end of her exhausting year-long global tour in support of her biggest record, Teenage Dream, an unbearable truth emerges. Her short-lived marriage to comedian Russell Brand is no fairy tale.
They had met on the set of Get Him To The Greek where there was an immediate attraction. Brand wanted to just hang out but she wanted romance. After a two-and-a-half hour dinner date, they became inseparable and eventually married. Before she begins her ambitious tour, she makes sure to have days off so she can fly back home to be with him. You can’t say she wasn’t committed.
But the constant back and forth takes a toll. The normally tireless Perry is suddenly squeezing in 15-minute power naps before performing two-hour concerts to packed houses indoors and out and then attending post-show backstage meet-and-greets where you can’t be the least bit cranky. (She refuses to disappoint her many sweet, dedicated fans including a young Make-A-Wish recipient.) You wonder how she’s able to turn it on so easily and persuasively despite wanting to crash and collapse.
One night before a show in Sao Paulo, Brazil (the biggest date of the tour), the emotion flows, even after she decides to go on with the show. Just before she rises as usual from a platform underneath the stage in her swirly, sparkly silver/red costume with a rare forced smile on her face, she is still weeping about him. When the crowd collectively declares their love for her in Portuguese, the gesture is warmly received. But there’s no escaping her private anguish.
Part Of Me turns out to be an apt title because we don’t really get the whole story here, just the approved version. She’s clearly protecting her ex-husband (who is mostly a distant ghost) and their doomed relationship all while maintaining her affable, oddball, sex kitten mystique. (Call her a real-life Jessica Rabbit but sillier.) There is no anger, no bitterness, just disappointment. (Her tears say it all.) The love of her life wanted kids right away. She didn’t. She felt she could have the big career and the happy marriage and despite doing literally everything to make time for both, as she bluntly notes in a resigned tone, the latter still failed. It’s a body blow, a shock, an unexpected rebuke to her child-like naivete. (She was 27 during filming but freely admits to acting 16.) This wasn’t part of the plan. Hard work is supposed to pay off. Love is supposed to be like a movie.
Stinging in a more subtle way, Part Of Me hints in one sentence Brand might not have been as dedicated. (For his part, he does pop up on certain tour dates to support his then-wife but the demands of his own career prevent him from further appearances, another reason cited for the quick split.)
Perry’s frustrating love life drifts in and out of the otherwise positive narrative in what is essentially a mostly entertaining concert film interspersed with numerous, revealing backstory sound bites from insiders, contemporaries, family and loyalists that unfortunately aren’t always separated from the performances. This sometimes gives the film a cluttered, distracted feel. You wish they’d let the songs breathe on their own without constant interruptions. Then again, maybe that was the point, an editing metaphor for her life at that time. Reality intruding on her carefully crafted candy-coloured playground.
By now, everyone knows that her rise to the top of the Billboard charts took almost a decade thanks to numerous obstacles and set-backs.
After abandoning her white gospel roots (her otherwise loving parents, both Penecostal ministers, were ruthless in “protecting” her from the insidious influences of The Smurfs and other “objectionable” family entertainment like The Wizard Of Oz), Perry hears You Oughta Know at a friend’s house and decides that’s who she should become, an Alanis clone. (Peacock is the closest she comes to aping her unapologetically sexual lyrics.)
So, at 17, she purposefully seeks out Morrissette’s collaborator, Glen Ballard, who immediately takes her under his wing. But after writing and recording new material and even making a couple of videos, nothing happens.
Then she’s off to Columbia Records where she’s paired with The Matrix, a red hot producing team who urge her to be more angry like…Avril Lavigne. Seriously. (There’s a funny moment during a vocal session where she humourously attempts to half-heartedly trash the booth before a take.)
In one of the best scenes in the film, a perplexed Perry wonders aloud why she can’t just write good songs. She is told that The Matrix have whole albums of said material sitting in a vault somewhere. No one wants to hear them. Shortly thereafter, the collaboration falls apart.
But as a publicist ally remembers, despite not releasing any of the material recorded for them, Columbia refuses to set Perry free. They’re wise enough to know she will break through for another company if they drop her. It makes you wonder, though, why they didn’t just let her be herself in the first place.
So the publicist steals all the “Katy files” on her way out the door as she approaches Capitol. The then-CEO of the company notices her appeal immediately and signs her. Unlike the awkward situation with The Matrix, Perry gets her creative freedom and ultimately wins her argument. The people do want authenticity after all.
In so many ways, Katy Perry’s career mirrors that of other female superstars who had to demand their independence in order to be real with their audiences after having to go along with phony personas, both rejected and embraced, insisted upon by others who thought they knew better. It’s hard not to think of Pink who reluctantly debuted as an R&B artist only to personally challenge her boss, LA Reid, by releasing a rock ‘n’ roll follow-up that expanded her fan base. He had to concede her instincts were right. I wonder if The Matrix did the same.
After the unexpected success of I Kissed A Girl from One Of The Boys, Perry herself was finally rolling, much to her management’s surprise. The follow-up Teenage Dream album ended up being such a monster (well, Adele aside, as big a monster as we allow in this post-Napster era of declining record sales), five of its original six singles hit number one, a feat never achieved by The Beatles or Madonna. (When the album was reissued, it spawned a sixth number one. What was it called? Part Of Me.)
The film captures the singer at the height of her commercial and creative appeal as it sees her travel the world with her trusted friends, family and co-workers all while maintaining a light, comfortable atmosphere despite keeping to a gruelling, punishing schedule. (We could be spared fart stretching, though.)
It’s interesting how her upbringing involved so much travel. As her brother David recalls, the Hudsons rarely lived a year or two in the same place because of their parents’ preaching tours. It ironically prepared her for the nomadic rigors of her own career.
Perry’s lovely sister is the only family member on the payroll working on the tour. In a funny sequence, she gets roped into playing the nerdy character Katy portrayed in the Last Friday Night video for a live performance of that song. Despite half-jokingly demanding “triple pay” for the stunt, she turns out to be a good sport. The rest of the time she’s rounding up excited superfans in silly costumes to climb up on stage for a surprisingly fun cover of Whitney Houston’s I Wanna Dance With Somebody which includes a boy in a homemade hot dog costume and a grown man in a leotard and colourful wig. Like Kesha, another woman who has had to fight for her authentic self and break free from manipulative, powerful Svengalis, Perry inspires her mostly young fans to embrace their own eccentricities without judgment or external disapproval.
After Perry’s marriage falls apart, in a bittersweet moment of irony, her sister tries on dresses for her own upcoming wedding. Genuinely supportive of her, Katy’s familial joy is still undeniably tainted by her own loss of happiness as evident by that very quick moment where she dabs her eye and looks away. Like the crying scenes that precede it, it’s a rare display of vulnerability.
We also meet her outspoken grandmother who recalls Perry as a perpetual show-off who rolled her eyes too much. (It’s neat seeing archival snippets of her from her childhood and teen years.) During a stop in Las Vegas, her granddaughter pays her a visit in a sweet, funny scene. Despite having a big smile on her face while attending one of her gigs, when asked at the end of the movie what she thought of Perry’s show, she gives a typically blunt answer: “Loud.”
Part Of Me never really shows its subject in a remotely negative light. It reminds me a bit of the underrated Elvis: That’s The Way It Is, the 1970 concert doc that showed similar scenes of playfulness, kindness and skillful determination but no jerky diva behaviour or serious character flaws. The Elvis doc showed Presley at the start of his Vegas period but before his astonishing, fatal decline. Released in theatres two years after his celebrated TV comeback special, what had once been shocking was now palatable to gambling seniors. All through it I wondered what juicy bits were kept carefully hidden.
I felt the same way about Part Of Me. Much like Presley, Perry is genuinely likeable and sincere. Her longstanding friendships reflect her strongest trait, her loyalty to her loved ones. (Based on how she reacts to the end of her marriage, it’s clear she wasn’t the one who wanted a divorce.) But she’s also faced criticism for her music, how she treated the subject of Ur So Gay, both of which go suspiciously unmentioned, and for some unfortunate moments of cultural appropriation which, to be fair, may have happened after this film’s release. Unlike Madonna’s excellent Truth Or Dare, Perry isn’t seen having much of a temper or attitude problem. (She might not be a morning person but she isn’t super grumpy about it. Gently throwing a pillow at her assistant doesn’t exactly generate heel heat.) Maybe she doesn’t have one or maybe she didn’t want that exposed. We don’t know. What we do know is that everybody, especially public figures, have character flaws which Perry isn’t really willing to reveal beyond being hopelessly addicted to the elusive idea of a fairy tale romance.
But what is revealed is genuinely fun, amusing, delightful, sobering and definitely inspiring. Perry’s generally good in concert (I also enjoyed her Musicares rehearsal performance of Hey Jude, an appropriate selection, and only disliked a few numbers overall) despite being upstaged too much by voiceovered talking heads. As she plainly states, her mission is to put smiles on faces. Judging by my own reaction throughout Part Of Me, she’s good at her job.
Dennis Earl
Hamilton, Ontario, Canada
Saturday, September 30, 2017
1:57 a.m.
Path Of Resistance
I am a thought that rattles your senses
An emotional storm that overwhelms your defenses
The crack in the dam that exposes your weakness
A ray of light shining right through your bleakness
A flash of hope that illuminates the dark
A fresh idea leaving an indelible mark
A quiet revolution that will conquer your fear
A cleansing mechanism making your conscience clear
I am a noise uncomfortable to take
Truthful sounds that smother the fake
I alter the future with a single note
Your lies and deceptions will soon be remote
A path of resistance undeterred by your walls
A refusal of compliance with your accusatory calls
I am The No you refuse to accept
Change is easier when the king is inept
Dennis Earl
Hamilton, Ontario, Canada
Tuesday, September 26, 2017
3:41 a.m.