“Hallelujah: Leonard Cohen, a Journey, a Song” is endlessly fascinating. The tale of its making, by extraordinary San Francisco filmmakers Daniel Geller and Dayna Goldfine, is equally compelling.
Can the life of a songwriter be told in a single song? It certainly can if the tune has the convoluted trajectory of “Hallelujah” and the individual in question is Leonard Cohen, poet and preeminent troubadour of gloom. Should that seem like thin substance for a feature-length documentary, the result — “Hallelujah: Leonard Cohen, a Journey, a Song” — is endlessly fascinating.
Much of the song’s rambling path to popularity is documented in Alan Light’s “The Holy or the Broken: Leonard Cohen, Jeff Buckley and the Unlikely Ascent of ‘Hallelujah,” published a decade ago . An inspiration for the film, the book opens with the assorted verses of the song written by Cohen, with its samplings from the Psalms, the Kabbalah and Hasidic thought. Cohen’s first recording included just four verses.
Once Goldfine and Geller determined there was a worthy film in this tower of song, they immediately recognized the challenges. “One was that there would be no way that Leonard would agree to sit for an interview,” Geller confides. Fortunately, Cohen was filmed repeatedly throughout his life. A late-bloomer tunesmith, he was a well-established poet and novelist before turning his sights on songwriting in his 30s. The fabulous “Ladies and Gentlemen… Mr.
The first three of 13 chapters in “The Holy or the Broken” detail the writing, recording and heartache of John Lissauer, the album’s producer, who saw the “Hallelujah” record passed over by the studio. The remaining 200 or so pages are a litany of other covers, largely derived from the Cale version of the song rather than the Cohen one. Foremost among them was a version little heard at the time of its release by the son of Tim Buckley.
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