Review – Rowland S Howard Doco

RENÉ SCHAEFER was on hand to witness the world premiere of ‘Autoluminescent’, a documentary about the iconic Rowland S Howard at the Australian Centre For the Moving Image on Saturday (July 30).

Richard Lowenstein introduced the premiere screening of his long-anticipated film portrait of legendary songwriter and guitarist Rowland S Howard to a packed house during the Melbourne International Film Festival. The audience was made up largely of Howard’s family, friends, erstwhile colleagues and fans, so the pressure was on as the film-maker explained that the final edit had only been completed in the last 24 hours. He needn’t have worried though. What flickered across the screen was one of the finest and most comprehensive documentaries yet made about an Australian artist – it even satisfied the most obsessive fans of Howard’s prodigious talent.

From the atmospheric opening credits it was clear that Lowenstein was taking as much of a poetic approach to his subject as that of a compiler of information. The chronology of Howard’s life was interspersed periodically with more lyrical passages, which served as backdrop to readings from his as yet unpublished novel Etceteracide. Read by Howard’s friend and band mate JP Shilo, who also provided the spooky incidental music, these passages were a true scoop, and for most of the audience the first glimpse of a heretofore unknown side to the guitarist’s creative output. Thematically, the novel appears to be a melange of science fiction concepts, Burroughs-esque grotesque and thinly veiled autobiography.

Visually and sonically, Autoluminescent was sumptuous and polished, with the music remaining the focus throughout. Refreshingly, the bulk of the film consisted of archival interviews with Howard himself. Some of this footage was only unearthed very recently, so the director made the very wise choice to replace some of the more conventional second-hand testaments from fellow musicians and admirers, minimising the often cringeworthy “Bono-effect”.

Howard’s early days as a dandyish punk, who appeared on the scene with his look, ideas and sound fully mapped out at the age of 16, were examined at length. In the process, a fascinating insight into the Melbourne post-punk scene of the very early ’80s emerged. From there, the film followed the protagonist’s journey through successive bands, The Boys Next Door, The Birthday Party, Crime & The City Solution and These Immortal Souls, as well as his various collaborations and production work for other artists, before culminating in the artistic (if not commercial) triumph of his solo career.

Also explored at length were Howard’s at times complex relationships with his female partners, all of whom absolutely adored this unique man, and agreed on his deep appreciation and love of women – such a contrast to the average egocentric, misogynistic rock star. Despite the fact that Howard gave the director license to “dish the dirt” on him, the only criticism levelled at the songwriter by his ex-partner and These Immortal Souls keyboardist Genevieve McGuckin, as well as his brother Harry, was of being occasionally controlling and uncommunicative in a band situation. Hardly a scathing indictment.

Avoiding sensationalism, Howard’s long-time heroin addiction was dealt with frankly and realistically. The point was made, subtly yet emphatically, that rather than fuelling his creative muse, the drug often stopped Howard from getting things done and led to the breakdown of his most important personal relationships. In one of the film’s most poignant passages, a wistful Howard, looking ill and exhausted, reflected on how much more he might have achieved if he hadn’t been dependent on barbiturates substances.

Likewise, his illness and eventual death from liver cancer were addressed respectfully and matter-of-factly, eschewing cheap sentiment and moralistic conclusions. In the end, Autoluminescent was a celebration of Rowland S Howard’s creative genius and enigmatic character, told predominantly in his own voice and those who knew him most intimately. Being produced in close collaboration with McGuckin and long-time musical foil Mick Harvey, Autoluminescent unfolded as an inspiring portrait of an uncompromising artist who left a legacy of unparalleled music and words.

CLARIFICATION: ‘Autoluminescent’ was co-directed by Lynn-Maree Milburn.

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‘Autoluminescent’ will screen this Sunday, August 7, 6.30pm, at ACMI as part of the Melbourne International Film Festival. Tickets and more information here.

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