A Prophet From Detroit: Searching For Sugarman [Malik Bendjelloul]

"What he's demonstrated, very clearly, is that you have a choice. He took all that torment, all that agony, all that confusion and pain, and he transformed it into something beautiful. He's like the silkworm, you know? You take this raw material, and you transform it. You come out with something that wasn't there before. Something beautiful. Something perhaps transcendent. Something perhaps eternal"

The late Malik Bendjelloul's Searching For Sugarman is an expository documentary thats similar to a gripping thriller movie made in the late 90's. It's also like a Sherlock Holmes novel; there's an investigation. Unraveling the mystery behind this drifting figure, obscured by shadows. When this film is stripped of all it's genre conventions; the insightful yet biased talking heads, the hyperbole, the revelations and the context, it's the story of a man that never came to be and never will. The much deserved Oscar was awarded, not from the technical devices expected of a documentary but the truly transcendent figure being portrayed to the audience as a real-life, walking prophet. When listening to Rodriguez' song Crucify Your Mind, I instinctively picture this man in his duster coat, highlighted by the neon glow from an occasional sign or two. His tired feet battling on in the snow, never prevailed by the storms of smoke. Upon my initial view, I had no knowledge of who Rodriguez even was, but I suppose that's the whole point.

Opening Credits
During the opening credits, there is a sequence showing cut outs of various parts of Detroit. All separated but eventually create a full image of the city; from the final angle it becomes clear. A direct reference to how the plot is relating to the union of many puzzle pieces, coming together to unfold and reveal the truth.

First Sighting
The producers stumbled into a misty room with a strange strumming coming from a corner. Through a re-enactment scene, an omitting, focus shot portrays the silhouette of a man described with his back turned away from the audience. It's significant that this is the first shot we see of Rodriguez, it's both peculiar and reminiscent of literature and films throughout history that leave out the main character until later on. In fact, it is only until three quarters into the film that we get to fully see this mysterious figure, unveiled. It's intentional that the spectator feels this distance between Rodriguez, the blurred mis-en-scene adds to a distorted perception to the already alluring black silhouette.  

Establishing Shots
Bendjelloul often presents establishing shots intentionally positions footage of sunrise, sunset and night before interviews to foreshadow events. When the search comes to an end it is usually associated with shots of the night sky and sunsets, representing the end of the day. Whereas clips of the sunrise usually relates to a new start or new found evidence. When Sandrevan Lullaby is played after the revelation of Rodriguez's whereabouts, this serenade-like track matches well with the heavenly sky. All in an attempt to resemble how the spectator should feel; uplifted and astonished at how surreal this all is. 

Use of Animation
This particular animated sequence works well with the soundtrack (Crucify Your Mind). The director portrays a ‘Wandering spirit around the city’ within the broken, run-down streets of Detroit. Through voice-over narration from his producers and the civilians of Detroit, they claim Rodriguez to be like an apparition lurking through the streets. Ultimately, they are all uncertain on who he is or what he was. This all supports the mystery of this man and as the audience we demand answers. Yet it could be said that even by the end of the film, they aren't all answered. 

Context
The central issue, other than no one knowing who Rodriguez was, is the Apartheid in South Africa. For someone who had never been taught about Apartheid throughout the whole of my education, the archival material of the riots, segregation systems and explicit racism that was institutionalized  during times as late as 1994 was disturbing. It was truly the 'spin-off to Nazi Germany' with these government figures in black and white. The government in South Africa controlled the news and persecuted any broadcaster which steered away from their views. Segerman, a talking head, says ‘Every revolution needs an anthem and, in South Africa, Cold Fact was the album that gave people permission to free their minds and start thinking differently’. Rodriguez lyrics had set these oppressed people free. The song 'This Is Not A Song, This Is An Outburst: Or, The Establishment Blues' told people that 'It’s OK to protest against your society'. How Rodriguez's album came to South Africa is still a mystery, but I find it remarkable how this song which was clearly written from an American's perspective was so influential and relevant to South Africa's struggle through Apartheid. It seems that his albums had universal messages and if some of the tracks would have made their way to the UK in the late 80's then perhaps the unemployed youths and worker strikes which plagued the nation would have had Rodriguez's songs for their anthem. Instead they got the Sex Pistols. 

The Search

Spoiler Alert - Rodriguez isn't dead but the majority of South Africa believed that he was and that he died in the most tragic way possible. Craig Bartholomew-Strydom, a music journalist, is another talking head, just like Segerman. Although, they could also be classed as participants. He said ' He sang his last song [...] And he reached down and pulled up a gun and pulled a trigger. [...] And that was the dramatic, very dramatic ending’. The rumors didn't stop the journalist and was determined to find exactly how Rodriguez died, instead he found Rodriguez. Who was very much alive. Malik exaggerates the journey in finding Rodriguez. What was just a journalist phoning up numerous producers/companies and trading information with other investigators, becomes so much more with the climactic structure as well as relying on the mystery genre. A talking head describes that the whole event was like “going into Tutankhamen’s tomb and finding a mummy’. 

Greatest Scene in Documentary History
The first time the audience sees Rodriguez is through a static shot of a closed window which he then lifts up. Revealing his whereabouts, Rodriguez is alive and unaware of the chase to find him and the fame he has earned in South Africa. Rodriguez lifts up the glass as if exposing the truth to the audience. The minor movements behind the closed, translucent window as the supposed prophet walks forward, is a complete eye-opener. Finally, another piece to the puzzle and we can actually start to see an image forming. What is terrific about this scene is the embrace of Rodriguez, all the audience knows is that they at least appreciate this man, if not completely worship him and respect him. No matter what, the character always manipulates the audience into falling for the talent, mythology and values which Rodriguez offers. 

"Even though his musical hopes were dashed, his spirit remained"