It’s a real-life tale of talent disregarded, bad luck and missed opportunities, with an improbable stop in the Hamptons and a Hollywood conclusion: A singer-songwriter is signed to a contract in the late 1960s after producers with ties to Motown Records see him playing in a smoky Detroit nightclub called the Sewer. He makes a pair of albums that sell almost nothing and then drops out of sight. So why, 40 years later, would anyone feel compelled to make a movie about this obscure artist, known professionally as Rodriguez?
Because, as it turns out, on the other side of the globe, in South Africa, Rodriguez had become as popular as the Rolling Stones or Elvis Presley. But he never knew of that success. He never saw a penny in royalties from it, and he spent decades doing manual labor to make ends meet and raise his three daughters. It wasn’t until fans in South Africa, trying to verify rumors he was dead, tracked him down through the Internet and brought him there to perform to adoring multitudes, that his career was resuscitated.
“This was the greatest, the most amazing, true story I’d ever heard, an almost archetypal fairy tale,” said Malik Bendjelloul, the Swedish director of “Searching for Sugar Man,” a documentary that opens on Friday in New York and Los Angeles. “It’s a perfect story. It has the human element, the music aspect, a resurrection and a detective story.”
Because of an odd confluence of circumstances it is also a story unlikely ever to occur again. In the era before the World Wide Web, South Africans, living under apartheid and isolated from the main currents of pop culture by domestic censorship and international sanctions, had no idea that Rodriguez languished in anonymity elsewhere. The singer himself compounded the situation by seeking to live as inconspicuously as possible.
On another, somewhat more oblique level, Mr. Bendjelloul acknowledged, “Searching for Sugar Man” can also be interpreted as a meditation on the fickle and arbitrary nature of celebrity and fame. We live in a culture, the film suggests, in which talent and quality sometimes go ignored, and when they get belated recognition, even that is often through happenstance.
“I’ve produced a lot of big-name artists with big hits, like Peter Frampton and Jerry Lee Lewis, but I’ve never worked with anyone as talented as Rodriguez,” Steve Rowland, who produced the singer’s second album, “Coming From Reality,” said in a telephone interview from his home in Palm Springs, Calif. “I never understood why he didn’t become a big star, so to see him rise like a phoenix from the ashes, it’s just as inexplicable, but it makes me really, really happy this is going on for him, because he’s a wonderful, humble person, and he really deserves it.”
by Larry Rohter, NY Times | Read more:
Photo: Nicole Bengiveno
