The triumph and tragedy of Searching for Sugar Man – Telegraph

Searching for Sugar Man is a brilliant testament to the briefly glittering talents of its director and star

Fleeting fame: Malik Bendjelloul and Sixto Rodriguez at the Critics' Choice Movie Awards, Los Angeles in January 2013 Photo: Rex Features

Fleeting fame: Malik Bendjelloul and Sixto Rodriguez at the Critics’ Choice Movie Awards, Los Angeles in January 2013 Photo: Rex Features

In 2006, an aspiring young documentary maker called Malik Bendjelloul left his job at Swedish state TV and went to Africa in search of material for his first feature. He eventually found himself in Cape Town, where a record store owner told him the story of Sixto Rodriguez, a brilliant Mexican-American singer-songwriter whose two albums, released in the early 1970s, had unexpectedly bombed in the US — but, by some magic, later found an audience in apartheid South Africa, where they sold hundreds of thousands of copies. As a consequence, Rodriguez became more popular than Elvis in the country, and inspired a generation of anti-establishment songwriters.

For years, the store owner explained, listeners in South Africa had presumed that Rodriguez was dead: apartheid censorship laws meant that information about him was scant, and rumours circulated that he’d committed suicide on stage somewhere in America. But then, in the late 1990s, a resourceful South African music journalist called Craig Bartholomew-Strydom started digging — and made an astonishing discovery.

It was hardly surprising that Bendjelloul grabbed this story with both hands and set to work turning it into a documentary, Searching for Sugar Man, named after his most famous song and released in 2012. What was surprising, at least to those who didn’t know him, was that this offbeat debut feature – written, directed, edited and co-produced by Bendjelloul – turned out to be a film of such elegance, poignancy and directorial sure-footedness. It was a hit with audiences and won dozens of awards, including the Oscar for Best Documentary in 2013, and seemed to promise Bendjelloul the kind of long, glittering career that had been denied to his subject.

Sadly, this was not to be the case: earlier this month, Bendjelloul committed suicide back at home in Sweden. He was thirty-six, and working on a project based on the conservationist Lawrence Anthony’s book The Elephant Whisperer.

Read more at The triumph and tragedy of Searching for Sugar Man – Telegraph.

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‘Searching for Sugar Man’ Star Facing Trouble Over Dealmaking Exclusive – Hollywood Reporter

Sixto Rodriguez - AP Images

Sixto Rodriguez – AP Images

The former chairman of Motown Records sues Sixto Rodriguez for representations made 45 years ago. Searching for Sugar Man star Sixto Rodriguez spent years out of the limelight until an Oscar-winning documentary showcased how the Michigan-born songwriter had secretly become a huge star in South Africa. Stardom has its price, though. Now, the newly famous musician is facing trouble over representations he made to music executives in the 1960s.The genesis of the legal dispute was first detailed by The Hollywood Reporter earlier this month. At the time, Rodriguez was not a party to the proceedings, but that is no longer the case. He’s now facing claims of breaching his songwriter deal.

Read more at ‘Searching for Sugar Man’ Star Facing Trouble Over Dealmaking Exclusive – Hollywood Reporter.

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The Tradesman Artist – Rick Emmerson

Posted in News, Performances, Reviews & Interviews, Searching For Sugar Man Film, Videos

Tribute to Malik – a Sugar sweet Man

Originally posted on Anne Samson - Historian:

It was with shock I heard that Malik Bendjelloul was dead. It was only last year that I met him – when Searching for Sugarman had its premier in London. However, my relationship with him went back to the early days of the making of the documentary as friends and family were involved: from finding Rodriguez to bringing him back from obscurity.

I missed meeting Malik when he came to our house to interview John on his fiction, Rodriguez and whose contribution is acknowledged in the credits of the film. Somewhere in all the tape on the cutting-room floor are the books in my library and a little bit of this incredibly talented director’s spirit.

If you haven’t had a chance to see Searching for Sugarman, I strongly recommend you do. I wasn’t a particular fan of Rodriguez’s music (it does grow on you after 10 years of…

View original 150 more words

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Malik Bendjelloul: Death of a filmmaker who told an extraordinary South African tale | Daily Maverick

From Daily Maverick

Malik Bendjelloul, the Swedish director of ‘Searching for Sugar Man’, has committed suicide aged 36. It’s just over a year since the documentary about folk musician Rodriguez won Bendjelloul an Oscar and captured the hearts of viewers all over the world. REBECCA DAVIS spoke to Bendjelloul’s subject and friend, Cape Town record-store owner Stephen ‘Sugar’ Segerman.

The last time I interviewed Stephen Segerman in his den in Oranjezicht, it was July 2012, just prior to the official release of Searching for Sugar Manin South Africa. At that time Segerman gave the impression of a man both bemused and exhilarated by the success of the film, in which he features prominently as one of two South Africans who made it their mission to track down Rodriguez.

Shortly before the interview, he’d been to the Sundance Film Festival with Bendjelloul and Rodriguez, where the film received a standing ovation. “It was just a magical night,” he told me at the time.

Watch: Searching for Sugar Man trailer

Almost two years later, the fairytale seemed even rosier. Searching for Sugar Man won the Best Documentary Oscar at the 2013 Academy Awards. Rodriguez, who languished in obscurity for years, today has fame and fortune locked down. It was the ultimate feel-good story.

And then, on Tuesday, shocking news broke: Bendjelloul, aged just 36, was dead.

“You know, with some people you have inklings and maybes. With Malik? Suicide? Impossible,” says Segerman, shaking his head. “I thought he must have died in his sleep or something. When I heard, well…” he trails off. “I’ve been seeing the comments. This dude had the world at his feet, he had an Oscar…”

Malik Bendjelloul was a teen actor in his native Sweden, starring in a show which Segerman describes as the Swedish version of America’s Family Ties. As an adult he worked as a TV reporter for Sweden’s public broadcaster, specialising in making short films about visiting rockstars. Then he left to travel the world, looking for richer stories.

Segerman first heard from Bendjelloul in late 2006, when he emailed the record-store owner to say that he was coming to Cape Town, and asked if they could meet. He had learnt about Segerman’s involvement in the Rodriguez tale through a piece in the Guardian, and wanted to hear more.

“At that stage we had a shop on the corner of Long Street with lekker big glass windows,” remembers Segerman. “I can still see him coming around the corner and saying: ‘Hello, I’m Malik!’”

In an interview with Movie Scope Magazine in July 2012, Bendjelloul described the encounter:

“I met Stephen ‘Sugar’ Segerman, the guy who first started to look for Rodriguez in Cape Town, and when he told me the story I was just blown away. It was just so beautiful and touching. Just the one-sentence summary was pretty strong: ‘A man who doesn’t know that he is a superstar.’”

For his part, Segerman instantly warmed to the lanky Swede.

“He just had such a lovely energy: tall, bright-eyed…He reminded me of Tintin,” he says.

Segerman took him up Table Mountain and Bendjelloul filmed a short sequence of Segerman telling the story of the hunt for Rodriguez. Then he disappeared off to Sweden, and Segerman didn’t hear from him for six months. At that point, Bendjelloul emailed to say: that’s the story we like in Sweden.

Bendjelloul returned to Cape Town and shot a one-minute trailer in Segerman’s den. He took it to the Sheffield Documentary Festival, where aspirant filmmakers pitch their stories. Bendjelloul won. A full-length documentary was on the cards.

Segerman points to a photograph pinned to a cabinet. It shows Segerman, Bendjelloul and camera woman Camilla Skagerström. “That was the team,” he says. “Just them. They came here and shot, then went to Detroit. There was barely any budget. Just – excuse the cliché – passion.”

rebecca-Malik-dies-better-days.jpg

Photo: Stephen Segerman, cinematographer Camilla Skagerström, and filmmaker Malik Bendjelloul, pictured in Segerman’s den in Cape Town.

In Detroit, there was the tricky business of persuading the reclusive Rodriguez to feature in the film at all. Bendjelloul worked his way in by meeting the musician’s family members one by one. He got his way eventually through sheer charm, Segerman says. Even so, filming Rodriguez had certain unique challenges. There’s a scene in the film where Rodriguez is fiddling with a video microphone while he talks. It still had to be used: there was no question of a do-over.

“There was always only gonna be one take,” Segerman chuckles. “No way was Rodriguez going to say all those things all over again.”

For over a year, Bendjelloul sat in his flat in Stockholm making the film. People promised funding and backed out. He ran out of money for animation, so he had to do the animation work himself. It’s the stuff of legends now that some scenes in the documentary had to be filmed using a $1 Super-8 iPhone app.

“That movie is sort of a bit jerry-built – kind of smashed together,” says Segerman. “I saw it for the first time and thought: That doesn’t look anything like movies I’ve checked, slick, beautifully-made documentaries!”

But the film’s sheer heart – and the incredible story it told – more than compensated for its technical weaknesses. Some suggested that the story was a little too incredible – that Bendjelloul had conveniently omitted aspects of the Rodriguez narrative that didn’t easily fit within the rags-to-riches trajectory.

“There were two main snipes about the film,” Segerman says today. “The first was that Rodriguez wasn’t actually an anti-Apartheid hero – which I never said. The other criticism is about Australia.” Bendjelloul’s documentary left out the fact that Rodriguez was aware that he had a major fan-base in Australia, and had toured there twice in the late 70s and early 80s.

“The simple explanation, which we spoke about, is that [Searching for Sugar Man] is about the search of two South Africans for Rodriguez,” Segerman says. “I found out about the Australian tour the night that I met Rodriguez for the first time, in March 1998. If I’d known, I would have tracked him through Australia! It was not part of our story.”

Segerman says Bendjelloul was unruffled by this criticism. “It made zero difference,” he says. “For him to create something which brought so much happiness into the world…Nothing could have bothered him about that.”

Segerman and Craig Bartholomew, the music journalist who also features in the documentary as instrumental in the hunt for Rodriguez, attended the Oscars with Bendjelloul last year.

From his wallet, Segerman extracts a piece of card on which he’d jotted down ideas for an acceptance speech for Bendjelloul, since the filmmaker hadn’t prepared anything.

“I’m superstitious about preparing speeches – this has been lucky for me,” it begins.

In the end, the laconic Swede didn’t need the prompt. “Oh boy!” Bendjelloul said when he won. “Thanks to one of the greatest singers ever, Rodriguez!”

There’s a photo in Segerman’s den of the three men tux-ed up, Bendjelloul clutching his statuette, at the prestigious Vanity Fair after-party.

“Just on my left side, over there,” says Segerman, pointing at the photo, “there was this old American dude. I thought: who’s that? He obviously wasn’t an actor.” He pauses. “It was Buzz Aldrin. For a baby-boomer like me, you don’t get any better than that. I met Buzz Aldrin, and then I went home.”

Interviewed by the New York Times in May last year as part of a list of ’20 Filmmakers To Watch’, Bendjelloul hinted at the surreal aspects of having made such a successful first film.

“Since everything was the first time for me, it was a bit confusing to understand what last year was all about,” Bendjelloul admitted. “To travel around with your film is a weird experience. Filmmakers are not musicians, they can’t perform their film; you don’t even need to load the projector. It was weird to think that that year was the reward for the work. But now I realise that it’s this year that is the reward. To feel free to do exactly what you want to do without feeling too scared that your ideas won’t interest anyone or worry about the rent or having to deal with people who think they know better.”

After the Oscars, Segerman says Bendjelloul was besieged with offers.

“Malik had been turning down a huge amount of stuff. He had a lot of offers of TV commercials, that kind of thing, but he wasn’t the type of guy to sell out. Your first full-length movie wins an Oscar! What the hell do you do for a second?”

In fact, for his next major project, Segerman said Bendjelloul had turned again to a South African story. He was working on a screenplay for a feature film inspired by the experiences of conservationist Lawrence Anthony, dubbed ‘the elephant whisperer’ for his work with traumatised elephants.

“He loved South Africa,” Segerman says. “I always say he should have been an honorary Capetonian. You have no idea how many people found out about Cape Town from his movie. He made it look so beautiful.”

Bendjelloul didn’t let his newfound fame go to his head, according to Segerman. “He always looked a little bit shy, a little bit awkward. It’s not an easy thing to deal with.”

Segerman was last in touch with the filmmaker last Monday, when the two had an email exchange about a legal dispute unfolding between two of Rodriguez’s old record labels. He says Bendjelloul gave no sign at all that anything was emotionally amiss.

“You know, through the film… My little record shop became a great little record shop. Rodriguez found his destiny. Malik, I thought, had found his,” Segerman says.

“You put something like that out there. The joy that I’ve got out of it – how much more so for Malik? And it wasn’t enough.” DM

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Cannes To Mourn Malik Bendjelloul With Special ‘Sugarman’ Screening | Variety

From Variety

Malik Bendjelloul | Alberto E. Rodriguez/WireImage

Malik Bendjelloul | Alberto E. Rodriguez/WireImage

As Cannes mourned the death of Swedish director Malik Bendjelloul, the Swedish Film Institute and Protagonist Pictures set up a special screening of his Oscar-winning documentary “Searching for Sugar Man.”

The non-official memorial “Sugar Man” screening will be held on Sunday May 19 at 9.30 at the Cinema Star 1, 98, Rue d’Antibes in Cannes.

Bendjelloul, who was 36, was found dead in Stockholm on Wednesday, shocking his many fans, in what is reportedly a suicide.

“Searching for Sugar Man,” about the amazing non-career of American singer Sixto Rodriguez, won the best documentary Oscar in 2013.

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Oscar winning Sugar Man director committed suicide | Channel 24

From Channel 24

Malik Bendjelloul. (Getty Images)

Malik Bendjelloul. (Getty Images)

Stockholm – Swedish director Malik Bendjelloul, who won an Oscar for his 2012 documentary Searching for Sugar Man, committed suicide in Stockholm, his brother said on Wednesday.

“I can confirm that it was suicide and that he had been depressed for a short period,” the 36-year-old film-maker’s brother Johar Bendjelloul told newspaper Aftonbladet. “Life is not always so easy.”

Bendjelloul was found dead in his apartment on Tuesday.

He won the Academy Award for best documentary feature last year for Searching for Sugar Man, telling the story of a musician who became famous without knowing it.

Sixto Rodriguez made two albums in the early 1970s but then quit music. After disappearing, his records became huge hits, particularly in South Africa.

“Searching for Sugarman” won various other awards, including best documentary prizes from Britains BAFTA and the Directors Guild of America, as well as two world cinema prizes at the 2012 Sundance Film Festival.

Rodriguez told newspaper Expressen that he was shocked over the filmmaker’s death following a concert in Chicago.

“Malik was a fantastic person,” he said. “He was both unique and very friendly.”

Born to an Algerian father and a Swedish mother in 1977 in the small southern town of Ystad, Bendjelloul moved to Stockholm as his career took off.

Inspired by Rodriguez:

He first discovered Rodriguez while travelling for six months in Africa in 2006, and was fascinated by his story.

Rodriquez, the son of a Mexican immigrant family, was discovered by two producers in a bar. They helped him record his first album, Cold Fact, in 1970.

It was a critical success, but did not sell well. His second album, Coming from Reality also showed talent, but flopped commercially.

Rodriguez gave up his musical ambitions and ended up working in the construction industry.

But while his records failed to take off at home, a bootleg copy made it to South Africa where it struck a chord with progressive young whites exasperated with the apartheid system.

With the artist untraceable, bizarre stories began to emerge about him, including one that claimed that he had committed suicide by setting himself on fire on stage.

In the end, the curiosity of two young fans broke through the myths: they found he was still alive, living in the United States. They brought him to South Africa where he was greeted as a hero in 1998, playing six sold-out concerts.

Searching for Sugar Man tells the story of those two fans’ search for Rodriguez, and of his musical renaissance.

Since the film gained international success, Rodriguez has relaunched his career filling arenas with new fans.

 

- AFP

 

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