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<< Previous   of   Next >>   ADVERTISEMENT   "Glass: A Portrait of Philip in Twelve Parts" Good start: Documentary portrait of Philip Glass, which trots around the world after the famous composer and interviews some of his famous collaborators and friends. It's a little too cozy to be definitive, but if you've ever been hypnotized or enraged by his repetitive music, the film provides good background. Rated: not rated; probably PG for subject matter Now showing: Northwest Film Forum, 1515 12th Ave., Seattle; 206-329-2629   CONTACT THE HERALD Melanie Munk, Features Editor munk@heraldnet.com   Published: Friday, July 18, 2008 'Glass: A Portrait of Philip in Twelve Parts': A cozy portrait of composer Philip Glass By Robert Horton Herald Movie Critic Philip Glass' repetitive music is either hypnotic or maddening, depending on your viewpoint, and a new documentary portrait of the composer will likely have a similar effect. "Glass: A Portrait of Philip in Twelve Parts" gives a close-up view of the (now septuagenarian) artist, who is seen presenting his music all over the world, working on a new symphony in his cluttered New York office, and preparing pizza in his Nova Scotia compound. Glass emerges as both an engaging, outgoing figure (he has an easy laugh and a disarmingly no-nonsense attitude) and a solitary sort. He has been married four times, and as his wife Holly admits to the camera at one difficult point in their marriage, his real passion is with his music. The film, directed by Oscar nominee Scott Hicks ("Shine"), meanders through Glass' past and his present. His sister and brother contribute the usual "He was a very driven kid" stories, and artists such as Chuck Close fondly the recall the good old days of being young and artsy in 1950s New York. Glass himself is blessed with a great memory for people and stories, and is especially appreciative of the two mentors who taught him to understand music as a young man: pianist Nadia Boulanger, and Indian composer Ravi Shankar. He was taking lessons with Boulanger during the day while working on a film score with Shankar at night. "Nadia taught me through terror," he recalls, "and Ravi taught me through love." Working with Shankar might also have opened Glass up to an interest in Eastern art and religion. We see him as a devoted and longtime student of Buddhism and Taoism, although he professes no particular affiliation. No real explanation is given for how Glass developed his propulsive, looping style of music, except for the general sense of wanting to do something new. He insists he works from no theory, but simply a desire to hear the music he receives in his head. Whatever you think of Glass' sound, it has functioned brilliantly as movie music. We see him at work with Woody Allen on "Cassandra's Dream," and Hicks interviews two filmmakers who have collaborated with Glass more than once, Errol Morris ("The Thin Blue Line") and Godfrey Reggio ("Koyaanisqatsi"). I am glad I saw "Glass," because I've always been curious to know more about this influential musician. The film feels a little too cozy to be the definitive word on the subject, but it's a decent start.

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