Scott Walker: 30 Century Man

D: Stephen Kijak

A solo career spanning 40 years and spawning fans like Eno and Bowie (the film’s executive producer) isn’t a bad place for Scott Walker. The elusive musician is in the spotlight, even if he’s not that fond of it, and Kijak manages to keep him at a reverent distance, the film padded with gushing interviews from musician fans. Far removed from his swoon-pop days in the Walker Brothers, we see him in the studio recording last year’s critically acclaimed head-scratcher The Drift, and punching a slab of pork. Much like that meat, Walker’s music is cold and rare, but the even rarer interview and studio footage offer a glimpse into the avant composer’s closely guarded mind – one that seems gripped by brilliance and fear – and assuages with that heavenly baritone. When asked to explain his once-a-decade album style, a somewhat jovial Walker replies “That’s my bad faith.” Kijak avoids portraying the tragic genius and instead likens Walker to Orpheus. Reinvention cannot be rushed or, often, articulated.


1:45pm, Alamo Downtown

This article appears in March 16 • 2007.

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