Director: Emmett Malloy
Producer: Mike Sarkissian
Starring: Jack White, Meg White
MPAA Rating: 14A
Running time: 93 min.

Since it’s about six months from the time I actually watched this move at the Toronto International Film Festival, it’s safe to say I’ve probably forgotten a lot of the details in the movie. But I do remember the overall impact the film had on me. With the release of the awesome looking special edition DVD set releasing next month (March 16th), I thought it prudent to jot down my thoughts on the film today.

As the lights came up after screening Under Great White Northern Lights, the director took to the stage to answer any questions the audience might have. One of the patrons loudly declared to us all that this was the best rock doc he’s seen in thirty years. While I think that statement is beyond bold (bordering on ridiculous), I can at least understand the sentiment. I recently declared Jack White the artist of the decade and those of us that are fans can understand why. Under Great White Northern Lights is just one more notch on the belt of The White Stripes’ legacy.

In the summer of 2007, The White Stripes started quite the non-traditional North American tour that covered, first and foremost, at least one city in every provincial territory in Canada. Some of these shows were sold out, 20,000 seat arenas and others were impromptu jams in a pool hall or a sing-a-long on an unsuspecting metro bus line. Film maker Emmett Malloy was there to capture it all. In fact, in one of the oddest displays of absurdity, pompousness and unconditional fan loyalty, the film opens with The White Stripes now infamous, one note show; in which the band plays literally only one note for a crowd of screaming fans who couldn’t be happier.

As with most documentaries on musical acts these days, your enjoyment of the film basically hinges on how much of a fan of the artist you are. The White Stripes movie is no different. Probably half of the running time of the film is spent with captures of full songs during a live performance. The texture for each video is slightly different, using grainy film stock, black and white and/or hand held camera techniques along with the usual crane and dolly shots. In this way, the feel of the music is mirrored by the on-screen aesthetic. The more you dig the tunes, the more you’ll find your toe tapping and your head bobbing – hence, the more enjoyment you’ll likely find in the picture.

Of course the between shots focus on Jack and Meg in their element, pontificating on their success, their struggles and their influences. With Jack White’s penchant for taking over situations verbally – especially in front of a camera – little is left for Meg to banter with. In fact, even when given ample time and opportunity she squanders (one might argue) the moment by just staring out the window; content to let Jack be the representative of the pair. The interviews get at the heart of The White Stripes dynamic intentionally and unintentionally as we get to witness the interactions between the two band members and the general sense of their mysteriousness.

The highlight of the film comes at about the 3/4 mark in which Meg and Jack are met at a small airport by the mayor of a town of less than 6000 and brought to a meeting by the Inuit elders; presumably so they can gauge the who this “White Stripe” guy is. Iqaluit is the capital city of Nunavut and looks more like an abandoned nuclear testing ground than a capitol city. Jack and Meg spend the day learning the local traditional music, eating raw caribou and performing old blues numbers for the aging “board” members. This bit feels less like a rock doc and more of a social learning program on PBS. Both sides of the aisle, so to speak, seem to show a genuine interest in the other with some amount of bewilderment but also a strong respect factor. It really ties the notion of who Jack and Meg are together quite nicely when laid side by side with the interview segments and screamy blues riffs.

From a purely objective point of view the film is just a bit better than mediocre, hence the above three star rating. I can’t see the film holding too much interest for just a casual viewer or for someone who isn’t quite in step with the whole White Stripes “schtick.” But for those of us who do care about The White Stripes and admirably and correctly have love for the music and are fans of the auteur style of what they represent and put together, this is a five star, must see film that will keep you jamming and wanting for hours after the curtain has lowered. It also makes for a nice pairing with last year’s It Might Get Loud.