Two brothers who are at polar opposites, one an indie rock star, the other a heavy-metal loving, B-movie making slacker who still lives at home with his parents and is longing to find his place in the world, are at the centre of this gleeful, touching and manic rockumentary about The National. The band consists of two pairs of brothers, Aaron and Bryce Dessner, Bryan and Scott Devendorf and lone front man Mat Berninger who in a bid to support his younger brother invites him on tour to work as part of the crew. What ensues is a surprisingly poignant portrait of brotherly love, self-loathing and artistic frustration that is comedic, dramatic and brutally honest in equal turns.
Tom’s scatty but frank interview technique allows for moments of sincerity and hilarity that most media trained professionals can only dream of. He niftily questions each of the band members in solitary - at once putting his own neuroses and theirs under scrutiny. Tensions that lie within the band are exposed through random ponderings as Tom at one point, so preoccupied with his relationship with his brother, forgets to ask Bryce any questions about himself. Bryce resignedly shrugs it off as the norm that the press are only interested in the front man. Telling moments like this are interlaced between visceral footage of live shows from the audience POV, as Tom circulates venues and watches the band from afar.
Agonizing self-doubt, self-destructive tendencies and a desire to live the glamorised rock and roll lifestyle marks the mid-way point of the film and the end of the road for Tom’s touring duties. Though his behaviour is frustrating, the comedy of errors which leads to Tom getting kicked off the tour makes for entertaining and enthralling viewing. It also marks a period of reflection in which Tom is tasked with actually putting the film together. Tom chooses not to censor the angry outbursts, lowest ebbs and embarrassing bits, blending this with truly funny moments (simply watching the two brothers interact is comedic value enough at times). It also helps that Tom is such an endearing presence, his shambolic and deeply sincere ways taking centre stage throughout the tour. Though Tom's admiration for his brother is clear, Mistaken for Strangers lingers somewhere between This is Spinal Tap territory (he forces each band member to strike awkward poses and wax lyrical) in its self-awareness, and something so entirely earnest you can't help but be moved.
At one point in the film Mat talks to his brother about the humiliation of the early days - “I remember the first time we played at the Mercury Lounge, and there was nobody there” - and explains how the road to success is often paved with disappointment, but with dogged persistence and passion it’s possible to achieve something. By “putting that tension, and anxiety, and fear into the music…it made us closer to each other, and for the people that did come to the shows, that was the connection.” Tom heeds his brother’s advice and turns his tour diary into both an intimate and revealing rock doc and a candid exploration of the antipathy and devotion of brotherhood which is sure to connect with many, not only fans of The National.
Overleaf: watch the trailer for Mistaken for Strangers
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