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Too much talk, too little music
JASON ANDERSON
>From Friday's Globe and Mail
August 17, 2007 at 12:28 AM EDT

Gypsy Caravan
Directed by Jasmine Dellal
Classification: PG
Rating: **1/2

Blame it on Havana. The success of Wim Wenders's elegant documentary about
the Buena Vista Social Club seven years ago spawned a subgenre of films
about musical traditions in every corner of the globe. Whether audiences
crave Memphis soul, Brazilian choro or Tuvan throat-singing, there's a movie
for nearly every taste. While the history of Polynesian death metal remains
undeservedly obscure, it too will surely get its due some day soon.

To this mellifluous category of films, director Jasmine Dellal adds Gypsy
Caravan, a documentary about an American concert tour in 2001 that united
several groups who shared roots in the musical traditions of the Roma, the
people known, often disparagingly, to outsiders as Gypsies. The acts hail
from Romania, Macedonia, Spain and India. Their styles initially appear to
have little in common beyond a rare level of virtuosity and exuberance. Not
even the musicians are sure about what it is they share beyond their mutual
love of cigarette breaks. A player from Romania struggles to answer the
question of what unites these strains. “Some rhythm, the language,” he
offers. “Also … the feeling.”

That feeling is what gives Dellal's movie great vitality, even though Gypsy
Caravan's haphazard organization and overly rushed pacing impair its efforts
to demonstrate the wonders and diversity of Romani music. And the
personalities of the players also contribute energy. They are an immensely
charismatic bunch.

Known as the “Queen of the Gypsies,” Macedonian singer Esma Redzepova is a
dynamo whose band includes several of the 47 adopted children raised by her
and her husband (now deceased). One of the Maharaja troupe of musicians and
dancers from the northern Indian region (and original Romani homeland) of
Rajasthan, “Queen Harish” is a bewitching, ever-swirling beauty who happens
to be a bloke. Antonio El Pipa and his aunt Juana la del Pipa are Spanish
performers who speak proudly of flamenco's Gypsy soul.

The group that is best known in the west is Taraf de Haidouks, a wild,
string-based band of players from Romania who've been featured in several
films, including Tony Gatlif's Latcho Drom, a superior documentary about
Romani music, and Sally Potter's 2000 drama The Man Who Cried.

Johnny Depp, who starred in the latter, shows up to sing the praises of his
former co-stars and rail against those who harbour prejudices against their
people. “Most Americans believe the clichés of Gypsies,” he says. An
incident captured here suggests the musicians are vulnerable to those
attitudes even when on an otherwise triumphant sold-out tour.

Besides capturing footage of the American shows, Dellal's crew – which
included veteran documentarian Albert Maysles, serving here as a cameraman –
travelled to the players' home countries to capture scenes of their lives
there. Considering the huge number of people involved, it's inevitable that
Dellal struggles to give everyone the attention they deserve. As a result,
many scenes of performance are unnecessarily truncated. It's as if Dellal
was nervous about letting the music speak for itself. Instead, we get more
talk and more travel than we really need. And in the end, it's the musicians
who discover the quality that unites them. It's not so much their Romani
roots as the love of music they share in the present.

In the words of a member of Maharaja, music is our “greatest joy – it's
better than land, wisdom or being father of 1,000 sons.”

Special to The Globe and Mail

© Copyright 2007 CTVglobemedia Publishing Inc.

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