YOUNG@HEART ***

*NOTE* I was very tempted to give this film four stars rather than three. I don’t give half stars. If other people do, I have nothing but respect for that. But that’s one of the reasons I have a five star system instead of four. I will only give something four stars if I think that it’s a 10/10 compared with other films in the marketplace. Five stars is perfection – an instant or lasting classic. Young@Heart, after much deliberation, strikes me as a 9/10. So I do hope that clarifies things somewhat.

I don’t see a lot of documentaries. They’re generally much too serious and stark for my individual taste. I like to be either entertained or deeply swept away in my filmgoing experiences. Though I enjoy having my intellect engaged cinematically as much as the next person, I want my emotions to be involved as well. Movies of that particular genre don’t usually motivate me sufficiently to see them. When I do seek one out, it almost inevitably has a musical theme or background.

This motion picture centres on the Northampton, Massachusetts Young@Heart Chorus. It was established in 1982 when all the current members were living in the same housing project. At that point, it was simply a hobby and some excitement for the people involved. They performed locally at a variety of different venues.

Then, one magical evening two years later, Diamond Lil Aubrey launched into an impromptu version of Manfred Mann’s Do Wah Diddy and brought the house down. From then on, it became an EVENT.

The choir has travelled all over the world during the past 20 years. The average age is currently 80, but many of them look much younger. People drop out and return if and when they can. Some have previous musical or theatrical experience. Some don’t. But they all appear to have some measure of talent and their collective enthusiasm makes all the difference. They absolutely love what they’re doing and they’re warmly received wherever they go. Dressed nattily on stage in immaculate white shirts and trendy jeans, they belt out a mixture of alternative rock and classic favourites: I Wanna Be Sedated (The Ramones), I Feel Good (James Brown), Fix You (Coldplay).

The director STEPHEN WALKER documents the final weeks of rehearsal in 2007, when they were about to perform in their home town.

The movie opens with the chorus on stage. There, at the centre of the action, is EILEEN HALL. She’s a delightful Englishwoman with a quick laugh and a sparkling personality. She worked the burlesque circuit when she was younger so she is no stranger to the adulation of an audience. She is singing the great hit by THE CLASH, SHOULD I STAY OR SHOULD I GO – and she’s doing it solo. She’s obviously getting an enormous kick out of it.

She is 92.

JOE BENOIT is one of the most well loved of all the members. He’s quiet but he misses nothing. Joe is in his early 80s. He has a big smile for everyone that he sees and he’s funny in a charming, gentle way. Their choirmaster, Bob Cilman (who’s 54) has assigned Joe to THE TALKING HEADS’ LIFE DURING WARTIME, which will be performed as a duet. Joe has a photographic memory for lyrics. So he’s the man for the job.

FRED KNITTLE returned to the group after his bout with heart disease. He’s all ready outlived the time that his doctor allotted to him and he feels that his health is failing. His rich baritone is not always up to the professional level that he would like. So, in one deeply moving scene at the end of the picture, he writes a letter to the other members. He tells them how grateful he is for their genuine friendship but, due to his health concerns, he won’t be able to participate any longer aside from the odd special request.

This film never panders or condescends to its audience – or to the group itself. Any emotions that it earns are pure and real. People don’t do a lot of thinking about death or mortality before the age of 30. Unless, of course, an individual has a serious brush with it or loved ones have been lost. But, everyone knows (even when they’re young children) that time is precious and has a finite limit.

No one is more aware of these inevitable facts than the people that populate this chorus. During the course of filming, they lose two members permanently within a week of each other. It hits them hard and they are deeply saddened. But they know that their friends would want them to continue entertaining audiences. Regardless of the circumstances, the show must go on.

One of the most stirring centrepieces of the entire film concerns a trip that the choir takes to a local correctional facility. They are going to give an open air concert to the prisoners on site. There is sufficient security in place but, aside from that, nothing separates the audience from the performers. The reaction they get is astonishing.

When they sing Bob Dylan’s Forever Young in tribute to their newly deceased friend, there are tears from many of the hardened souls observing – and they get a rousing standing ovation at the end of the show. At the meet and greet immediately after there were remarks like, “That was the best performance I’ve ever seen.”

There has been a lot said (repeatedly) over the years about the inherent resilience of people in general and the triumph of the human spirit. So much so that it seems a dull cliche. But, every once in a while, there is a beautiful, truthful film that explores these issues with such grace and is so good and genuine that it really transcends all of that.

If you told any of the people in the chorus that they were heroes or inspirational, they’d likely deny it or laugh out loud. I’m sure they don’t think of themselves that way. They’re just out there enjoying the moment and hoping that the people who came to see them feel the same.

But, whether they’re actually aware of it or not, it’s really very profound. By doing this, they’re allowing others to see that that passion, that drive, that sense of adventure never has to be dispensed with or drowned out.

The fact is that people never really change. They just get a little older.

Miss this at your own risk…