Phil Ochs: There But for Fortune (2011)

Don't listen to the negative reviews

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Being 58 years old, I was quite aware of Phil Ochs in the 1960's. I can testify that the movie does a good job of retelling things that were widely known by anyone active in socialist politics in the 1960's about Phil Ochs. He was a dedicated socialist and wrote some excellent political songs as well as a few sweet ones. In the 1970's, especially the last five years of his life, he disappeared from my radar. I was terribly shocked when I read about his death. At the time, there were a lot of confused ideas about his death floating around. I never quite understood it. This movie does a good job of clearing things up.Not nearly as prolific, wide-ranging, clever or popular as his rival Bob Dylan, Ochs political songs, like "I Ain't a Marching Anymore," or "Here's to the State of Mississippi" or "There, But for Fortune" hold up well against all but the best of Dylan's political songs, "Masters of War," and "Ballad of Hattie Carroll." The film reminds us that Ochs was there at the very beginning of the folk scene in 1961 with Dylan. He was more than a Dylan wannabe, but was actually an influence on Dylan for the first two or three years. The "Greatest Hits Album" was when I tuned him out, as a lot of people did. He seemed to be imitating Dylan in selling out the socialist movement. This movie suggests that he was spoofing artists that sold out. I don't quite remember it that way, I took it seriously, but I'm willing to believe the movie that it was tongue in cheek. The rebellion and social revolution of the 1960's was extremely complex and this film does a nice job of simplifying it. It was produced by his brother/manager among other friends and family members and I think Phil Ochs would not have disagreed with much in it.For those who haven't heard of Phil Ochs and his songs, you're in for a big treat. See it as soon as possible. For those who were there with him, see it and remember some of the things we were fighting for.

Many of us are familiar with such songs of the sixties as "I Ain't Marching Anymore," "There but for Fortune", "Love Me, I'm a Liberal," and "When I'm Gone" without remembering that the author was Phil Ochs, a singer/songwriter whose name is hardly recognized today. Kenneth Bowser, in his documentary Phil Ochs: There but for Fortune, makes sure that we find out. The film traces Ochs' rise from his beginnings as a young performer in the Greenwich Village folk scene in the early sixties to his prominence as a protest singer in the ongoing struggle against war, racism, and injustice. An artist who developed a sizable following, Ochs' self-inflicted death in 1976 at the age of 35 was a tragic signpost of the end of an era.Though the documentary breaks no new ground, its format of photos, live concert footage, and personal interviews keeps it lively and interesting, although the quick snippets we hear of Ochs' songs make it difficult to fully appreciate his talent. Interviews are conducted with Phil's brother Michael who acted as his manager, folk singers Pete Seeger, Judy Henske, and Joan Baez, actor Sean Penn, activist Tom Hayden, journalist Christopher Hitchens, and others, but not seen is Ochs' prominent contemporary, Bob Dylan. Bowser reveals that Dylan had a falling out with Ochs when Bob unsuccessfully tried to steer Phil away from what he considered to be his one-dimensional approach to song writing and urged him to express more of his personal feelings.As a consequence, Dylan, to put it mildly, is not spoken of highly in the film and his estrangement with Ochs continued until Bob joined Phil years later for a benefit concert for Victor Jara, a Chilean protest singer who was brutally murdered by Pinochet. As has been repeated often, the sixties was a time when young people truly believed that energy and idealism could change society, only to be disillusioned when powerful forces in and out of government tipped the scales in favor of political assassinations and military adventurism. As a frustrated protest movement splintered and gave way to the political theater of the Yippie culture personified by Jerry Rubin and Abbie Hoffman, and the Weather Underground began a campaign of setting off bombs on government property, Phil Ochs career began to slide.The murders of John and Bobby Kennedy, the democratically-elected Chilean Socialist Salvador Allende, and the killings at Kent State, hit him very hard as did the continuation of the senseless war in Vietnam. Ochs also continued to grapple with alcoholism and the bi-polar disease inherited from his father. His downward spiral was exacerbated when he was attacked while walking on a beach in Dar es Salaam in Africa, causing him to lose strength and range in his singing voice. Ochs' behavior took on bizarre aspects when he appeared at a concert in Carnegie Hall dressed in an Elvis Presley gold suit, shouting at his audience, "We need to turn Elvis Presley into Che Guevara." Though Ochs was not a major artist in the mold of Bob Dylan whose lyrics reverberated with poetry and breadth of vision, much of his work was important and inspiring, a singer who reflected his times and gave it new definition. He was "a young man with many reasons why" but when he was no longer young and the causes he fought for were foundering, his grip on reality started slipping and he knew that he would no longer "suffer from the pain when he was gone." When Dave van Ronk sang "He was a Friend of Mine" at Ochs' memorial concert, the words of Eminem could be heard saying, "And when I'm gone, just carry on, don't mourn. Rejoice every time you hear the sound of my voice."

I went originally to see this documentary because I loved Ochs music - even played some of it badly at one time - but feared it might simply be a 'trip down memory lane'. But the film is so much more than a bio of Ochs and his music or - thank god - just an exercise in nostalgia. It really captured the power and significance of the historically altering events of the 60's - both for the country and for individuals. I wish everyone - especially young people - could see it. Ochs comments in the film that Nixon used the stereotype of a drugged out-of-control protester to present the masses with the false choice of himself or 'those'. Of course that strategy of fear and false political choices is not unique to Nixon - always existed and still does. Nonetheless,it still saddens and angers me that conservatives have succeeded so well in shaping the historical lens that most people see the 60's through now. Most people today simply think of drugs, sex, rock-and-roll, and self-indulgence when they think of the 60's. Lost is any mass knowledge of what happened in Birmingham, or to martyrs like the Philadelphia Three, or the work of thousands of sincere people like Ochs who fought for fairness. The film captures this split - how the 60's was really two segments - and just as Ochs lost his way after Chicago - so did the nation. I don't have a problem with the fact that there wasn't more musical footage of Och's music in the documentary. There was enough to present his music and place in the folk scene of his time. Other sources can fill in more of his music - and hopefully people who aren't familiar with his music will do that. One documentary cannot be three films - i.e. personal bio, musical compilation, and historical analysis. It needs to have a focus and point of view. And,for me, this film captured the power and impact of his music, and how his personal life followed - sadly - the country's loss of trust and hope.

Some fascinating archival footage of the late, great Phil Ochs is presented here and it is just stunning. As part of the folksinger movement in the 60's, his only rival was Dylan, though Ochs was far more political. It is a bit myopic in that it mostly focuses on that. That is fine, but I would have liked to see commentary from fellow singers Eric Andersen and Tom Paxton, both of whom either recorded Phil's songs or wrote a song for him (Paxton's "Phil" is amazing). Not having them is a minor thing, though, and you do hear from his brother and sister, his ex-wife and daughter, as well as other people he knew (nearly all are listed as "friend" first in their description). If you do not know Phil's music, buy any compilation Elektra and A & M put out, as well as "In Concert" and "Pleasures Of The Harbour". I'm happy to see a documentary on Phil finally being done. Not perfect, but more than recommended.