When it was announced that this year's Tribeca Festival will be open in the HBO documentary "Billy Joel: In the Scenario of Doing This", I thought it was a fan of Billy Joel and Pop documentary (which tends to light and Hagiographic these days), it's something we'll be in a powerful, exciting, uplifting, uplifting, uplifting The-Musiceca appeTebeca appeTemer. "Doing this" is certainly a contagious celebration of Joel's popular magic, an indelible quality of his as a composer and singer and rock star. The appetizer for this movie is really good, as the festival only shows the part 1 of the two-part HBO documentary.

However, Part 1 is a two-hour and 27-minute period that can take you to 1980, when Joel had released his seventh album, "Glass Houses." Therefore, I am confident to see it as an independent experience. What surprised me was the emotional gravity of the movie. Directed by Susan Lacy and Jessica Levin, “So Like,” is not a pop star’s easily scattered paper portrait. It includes a lot of warts, but it not only shows the complexity of Billy Joel, but not always a happy life fuels his redness and tricks pop in some ways.

For example, the "Piano Man" emerged from Joel's early financial disaster as a solo artist. To get himself out of the scuff mess demode of Long Island rock world, he signed a contract with the only person interested in signing him - Artie Ripp, owner of the home production (winning Joel's wind through Woodstock co-creator Michael Lang). It turns out that this is a deal with the devil. Ripp made Joel's first album, Cold Spring Harbour (1971), which led the lead with "She to and away" (a fairly number one solo track), but to make sure the songs fit into the broadcast format, Ripp mastered the album at the wrong pace. Joel has no money, either. He moved to Los Angeles and after winning interest in Columbia Records, he decided to withdraw from his contract with Reep by refusing to be "Billy Joel."

This led to a six-month show at the Piano Steel Bar, executive at Wilhill Avenue, where he showed standards, calling himself "Bill Martin" (with an exaggerated nightclub singer voice). He wrote “Piano Man,” which is why this song is great – because you hear the reality of Joel’s experience, his observations on customers and the piano player as a whole, and the Europeans in this song’s favor, which all evokes a response in the ecstasy of the song. There is a clip of a stadium audience singing alongside the “Piano Man,” a weapon waving in the air, one of the moments when you feel the song resonance in Central America. This reminds me of 1994's Billy Joel "A bottle of white! A bottle of red...“I found “Scene from an Italian Restaurant” to be a grand song, but that moment was awesome.

The documentary captures Billy Joel, a romantic pop star who is also an avid fighter. You'll hear duality in amazing anecdotes, he talks about what happened after his fourth album, Turnstiles, was released in 1976. It's an uncertain but uncertain record, and a song ("The Mindset of New York") will continue to be a classic, but Joel's career has emerged without catching up with the heat. He formed a band of Long Island Musicians who felt like his brother (kind of his E Street Band version), but he knew he needed a producer who could take him to the next level.

Joel worships the Beatles as he knows any deep-dive Beatles that have succeeded by legendary producer George Martin. So Joel called Martin and asked him to make his next album. Martin attended a concert to meet with Billy Live and he was won. He said he would make records in one condition: Martin wanted to abandon Billy's band and use conference musicians. It's not that it's an out-of-the-art idea (conference musicians fueled the splendor of "Pet Sounds" and Steely Dan's album), but Joel got nothing. He told Martin: Love me, love my band. That's it.

Karma then laughed, as the follow-up record "The Stranger" (1977) was made by Phil Ramone, who hits what Gus Dudgeon did with Elton John. But when Colombia executives heard "strangers" they didn't A song This qualifies as a hit single.

"Stranger" is one of one single album, such as "Thriller" or "Rumor", which turned out to be all Hit a single. Each song above is a timeless gem. But radio needs persuasion, and it's the weird icing on the cake: Joel's wife, Elizabeth Weber, is now his manager, insists that "just your way" is released as a second single (it's the real album), and that the song is a song by Joel that isn't even written on the record. He thought it was too "mushy". Literally, he had to convince. This is an illuminating story mystery Pop music.

With Billy Joel’s success history, and the rider of his indelible songs, “This is the first part of “So”, its fan service is very satisfying. But the documentary is a place that’s almost a novel portrait that goes deeper than Joel’s slow-burning first marriage. The way he and Elizabeth get together is a counterculture version of some of John Updike’s LED Zeppelin’s hair: Weber married Joel’s bandmate and breast love partner Jon Small, when she fell in love with Billy. (She has a son with Small, and Billy ended up adopting.) After a while, she abandons two men, which makes Joel Sunidil Suicidal left. He tried the pills, and at one time drank a lemon promised container. But she and Billy reunited and stayed together for 10 years, during which time she became his muse and close-knit business partner, inspired many of his songs (especially "She Have a Way" and "She is Always a Woman". They have a bond of love and fanaticism, and while the film doesn't capture the million scandals of marriage through subtle use of archival lenses, co-directors Lassi and Levin seize on the legend of marriage, allowing us to read what happens on the couple's faces. In "So," these pictures are worth a thousand words.

Weber, like Joel, was interviewed with a chic white-haired wedge. He is a sensitive outsider (the only Jewish child, the only child of divorced parents, the only child near his Long Island), and he never even dreamed of being the one he became a rock star. But he looked at him, like a cute sly stallone, there was a transformative star that couldn't land on your head. (That's what "big shot" is for sure.) The film frankly illustrates Joel's addiction and how he saved him was his obsession with songs.

"Doing this" pays homage to Joel, how Joel blends Tin Pan Alley's musical architecture with early 70s singer-songwriter Boom (Joel's Bridge and Bruce Springsteen of Thneller's songs with Gibraltar's Rock of Gibraltar). But this movie makes a huge senior point too few. When Paul McCartney showed up and paid tribute to Joel, he said "just your way" was the song he didn't write, and what he wanted to write the most was that the truth was, Billy Joel ideawhich sounds like a musical sentence he formed on the spot, was deeply influenced by McCartney. (John Cougar Mellencamp, like Nas, has a quality of this quality.) I remember how powerful his writing aspect hit me when I was in Karaoke Bar at Key West, watching some Frathouse House Dude Mangle "I Go Extreme." His singing was terrible, but he was so passionate about it that I realized for the first time that it was a superb song. (It has been one of my Joel's favorites ever since that day.)

I can't make a clear judgment on "Billy Joel" because I haven't seen Part 2 yet. Sometimes the repetition of Part 1 is indeed a bit repetitive (I hope the movie isn't that tenacious timeline). However, the day after I saw it, it was with me. Martin Scorsese made four hours of documentary films in about a year of Bob Dylan’s life. Billy Joel is not Bob Dylan, but he is a leading artist with a 55-year career behind him, how this long-term film sat you in the irresistible of his music, and the powerful contradictions that fueled it.