Hit So Hard

Hit So Hard
Limited the­at­rical release in select North American cit­ies and avail­able through video-on-demand start­ing April 13th; sched­uled for DVD and Blu-ray release in June.

Hit So Hard (Director: P. David Ebersole): Screened a few weeks back as part of Toronto’s Canadian Music Week film pro­gram, Hit So Hard (sub­titled The Life & Near Death Story Of Patty Schemel) explores the former Hole drummer’s career and struggles with addic­tion, set par­tially against the back­drop of the rise and fall of the Seattle grunge scene. Director P. David Ebersole com­bines inter­views with Schemel filmed over a period of sev­eral years with archival foot­age, much of it shot by the drum­mer her­self. Ebersole also fea­tures extens­ive inter­views with Schemel’s former Hole band­mates Courtney Love (lead singer/guitarist), Melissa Auf der Maur (bassist), and Eric Erlandson (gui­tar­ist). The enter­tain­ing inter­view seg­ments with the notori­ously unpre­dict­able Love show her at vari­ous points talk­ing with her mouth full, sit­ting with her legs splayed over the arms of the chair she’s in, and gen­er­ally just com­ing across as a train wreck. These por­tions scream out for Love to get her own fea­ture-length doc­u­ment­ary treat­ment.

Devout Hole fans will likely find much to enjoy in the wealth of behind-the-scenes foot­age of the band, most of which has never been seen before. For the rest of us, how­ever, it isn’t ter­ribly reveal­ing, offer­ing up the stand­ard music visual doc­u­ment of mundane life in the record­ing stu­dio and on the road in a vari­ety of bus, back­stage, and hotel room set­tings (there’s also some decent live foot­age). One of the sub­jects Schemel’s video cam­era cap­tured is Kurt Cobain; she stayed at the res­id­ence he and Love shared for an exten­ded period, and we see the Nirvana front­man in some private moments with his new­born daugh­ter, as well as singing and play­ing an acous­tic gui­tar dur­ing a brief snip­pet. These scenes aren’t par­tic­u­larly inter­est­ing and will only hold some value for Nirvana dis­ciples.

Schemel joined Hole in 1992 and spent six years with the group, play­ing only on their lauded Live Through This album. The sec­tions dis­cuss­ing the dif­fi­cult record­ing ses­sions for its fol­lowup, Celebrity Skin, are some of the film’s most inter­est­ing, as we find out that all of Schemel’s parts were replaced by a stu­dio drum­mer (although she is cred­ited in the album’s liner notes). Despite bat­tling a drug addic­tion at the time, Schemel main­tains her play­ing was fine and that pro­du­cer Michael Beinhorn played head games with her, ulti­mately turn­ing the rest of the band against her (Beinhorn has a his­tory of dif­fi­culties work­ing with drum­mers). Erlandson, Auf der Maur, and Love all agree that work­ing with Beinhorn was an unpleas­ant exper­i­ence and now regret their decision not to show more sup­port for their band­mate, who even­tu­ally quit. At a ques­tion-and-answer ses­sion fol­low­ing a Hit So Hard screen­ing last year, Love said Beinhorn was “still a Nazi fuck” after curi­ously work­ing with him again on Nobody’s Daughter, the 2010 Hole album that didn’t include Erlandson, Auf der Maur, or Schemel (read my review here). After leav­ing the band, Schemel des­cen­ded fur­ther into drug addic­tion, unable to heed the cau­tion­ary tales of friends Cobain and ori­ginal Hole bassist Kristen Pfaff (who fatally over­dosed a couple of months after Cobain’s sui­cide). By the end of the 90s, Schemel’s heroin, crys­tal meth, and crack habits had left her home­less and turn­ing tricks for drug money.

I found it inter­est­ing that whether by choice or not, Ebersole’s film doesn’t include any inter­views with either of the sur­viv­ing mem­bers of Nirvana, nor any­one from the other two biggest 90s Seattle bands, Soundgarden or Pearl Jam. A small col­lec­tion of other 90s alt-rock con­tem­por­ar­ies are inter­viewed, includ­ing Veruca Salt’s Nina Gordon, Luscious Jackson’s Kate Schellenbach, and Roddy Bottum from Faith No More and Imperial Teen. Ebersole also expands the doc’s focal point to probe the role of women drum­mers in rock his­tory, although the fact that two of the prin­cipals inter­viewed are the drum­mers from The Go-Go’s and The Bangles doesn’t add much musical cred­ib­il­ity to the dis­cus­sion, quite frankly. In my eyes, a glar­ingly obvi­ous omis­sion to any dis­cus­sion of women in rock, par­tic­u­larly because they’re actu­ally from Seattle, are Heart’s Ann and Nancy Wilson. Through Schemel’s own exper­i­ence as a les­bian in the music industry, Ebersole also briefly explores the his­tory of gay women in rock and the adversity they’ve faced.

The documentary’s biggest neg­at­ive is that it fails to present a fully-formed pic­ture of the drummer’s post-Hole life. Schemel recounts call­ing Love for fin­an­cial help while home­less, but there’s no sense or indic­a­tion from the inter­views with Love, Erlandson, or Auf der Maur of whether or not any of them cur­rently have a rela­tion­ship with her. They all speak warmly and caringly of Schemel; Auf der Maur, in par­tic­u­lar, was quite close with her dur­ing their time in the band, and it would have been nice if Ebersole had defined this cru­cial ele­ment. One of the things I enjoyed about the movie was that it didn’t deliver a seen-it-before end­ing where Schemel makes a tri­umphant return to the music busi­ness. We see her sober, hap­pily mar­ried, and ful­filled with a new­found career in the dog care busi­ness. As Ebersole tells it, Schemel essen­tially aban­doned any ser­i­ous pur­suits in the music industry after get­ting her life straightened out, occa­sion­ally play­ing in a band with her brother and act­ing as a drum instructor/mentor to young women. Upon fur­ther research, how­ever, I found that the dir­ector egre­giously failed to include the facts that Schemel actu­ally recor­ded with Juliette And The Licks (the punk band fea­tur­ing act­ress Juliette Lewis), toured with Imperial Teen, and col­lab­or­ated with Love a couple more times: in a short-lived band called Bastard and again on Love’s 2004 America’s Sweetheart solo album. On the lat­ter, Schemel co-wrote five songs (incor­rectly lis­ted as ten song­writ­ing cred­its on the album’s Wikipedia page) and con­trib­uted drum tracks to the pro­ject.

Schemel’s story should make for a more com­pel­ling view­ing exper­i­ence than Hit So Hard deliv­ers. The highly like­able musician’s col­our­ful and har­row­ing tale make her a primo doc­u­ment­ary sub­ject, but the film’s incom­plete­ness under­mines the end res­ult.

Official site of the film

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