We review ‘Linkin Park: Unshatter’, a documentary that premieres this Wednesday in theaters

It is symptomatic that the two great music documentaries this fall deal with the resurrection of two groups from the nineties. It is not fair to compare the (apparently) irresolvable discord between two brothers with the tragic suicide that stopped the North American band in its tracks in 2017, but in addition to dealing with the central theme of the improbable second life of a group, both proposals hardly stray from the comfort zone. Could anything else be expected?

From the address of “Unshatter” sIn fact, the group’s DJ has commissioned Joe Hahndirector of many of his music videos. The Emmy winner supports him Mark Ritchie at work with live cameras. The montage alternates bombastic images and implausible shots of the electric performance of the new group of Californians in Sao Paulo (Brazil), with the previous process of recomposing the sextet after the suicide of Chester Bennington. A trauma through which the documentary tiptoes.

Bennington’s death destroyed the tour and the future of Linkin Parkas the musicians explain in individual interviews. From there, Hahn films and assembles conversations, work in spiritual leader Mike Shinoda’s home studio, rehearsals and personal interviews that document how the band recomposed itself in a kind of Japanese Kintsugi, in the words of Brad Delson.

The guitarist’s reluctance to return to the band is one of the most interesting elements, as it starkly reflects the complexity of the dynamics of any group. In fact, Delson decides to continue with the project on the condition of avoiding touring. Instead, drummer Rob Bourdon decided to jump ship, another blow for the band that the documentary resolves amicably.

It is the surprise (and barely explained) arrival of the unknown singer Emily Armstrong (Dead Sara), with her luminous feminine energy and passionate spirit, that will serve as a catalyst for the group to regain their enthusiasm. Everything is going so well that what started as a test becomes a new album (the notable “From Zero”) and tour, without change of name. The excellent drummer, producer and musician Colin Brittain will also play a key role in this journey.

It is an open and rare process (unique, according to Shinoda) in which nothing was written, and which, as the frontman says at one point, could have failed. However, apart from Delson’s initial lukewarm distrust, there is hardly anything that conveys tension or uncertainty: everything is going smoothly between people who are as sensible as they are adults, which, returning to the initial comparison, reminds me of the current reasonable version of the Gallaghers as opposed to the chaos of their youth.

I’m not a fan of sensationalism, or even gruesome musical biographies, but cinema requires drama, and it’s a bit lacking here. There are some scenes on the verge of excessiveness, such as the zoom that focuses on the crying fan’s face, or the comments of the fans. youtubers at the group’s comeback in Los Angeles. Others have their charm, like the affectionate feedback that Mark Hoppus (Blink 182) gives them when listening to the first recordings where the magic of the new vocalist shines.

The best of “Unshatter”which ends with the tender and beautiful images of a youthful rehearsal with Chester himself, is how it captures the personal and artistic chemistry of a band that was resurrected against all odds. Probably the only way he could do it.