New doc takes sober look at Paul Simon classic
In 1986 Paul Simon caused a stir with the release of his world fusion album Graceland . Simon who was already decades into his career moved from being an almost washed-up folk relic into a resurrected hit-maker with this album of classic pop songs set to South African rhythms and instrumentation. Graceland provided an introduction to African music for many North Americans but was not as appreciated by some South Africans who saw Simon as a hindrance to anti-apartheid efforts.
Twenty-five years after Graceland was released the album seems fairly innocuous. Songs like “You Can Call Me Al” and “Diamonds on the Soles of Her Shoes” have become radio standards and African influences on western pop music no longer seem novel or out of place. In the mid-80s though Simon was (probably justifiably) accused of appropriating African culture and even exploiting the South African musicians who laid down the tracks that would form his hit songs. Even more alarmingly Simon broke the cultural sanctions on South Africa by travelling to the country without permission to work with local musicians and then bringing those same musicians out of the country to tour with him. In hindsight it may seem like he was actually helping the black cause in South Africa by employing the musicians and spreading the joys of their music but at the time the African National Congress firmly believed that Simon was derailing the anti-apartheid movement.
In his new film director Joe Berlinger ( Paradise Lost Some Kind of Monster ) doesn’t take sides and looks at the Graceland story from the points of view of both Simon and his detractors. He takes Simon back to South Africa where he visits many members of his Graceland band for the first time in over 20 years. While the film ultimately is Simon-friendly and the jubilant nature of the music definitely builds some sympathy for Simon’s cause (it’s hard to fault the guy when he created something so great) many of Berlinger’s interview subjects still think that the iconic singer made some big mistakes. While people like Harry Belafonte and Dali Tambo son of late ANC president Oliver Tambo speak gently they also speak critically even 25 years later.
As for Simon himself the singer has a reputation for being cranky and arrogant and he still doesn’t seem to fully understand what all of the fuss was about even if he does admit to some cultural blind spots. This stubbornness shown alongside the political background and musical moments elevates Under African Skies from an episode of Classic Albums into a more complex documentary. Berlinger doesn’t draw any conclusions or pass any judgment but he does reopen the debate on an album that has lost much of its political context with the passing of time.
