Raising Killer Kane

NEW YORK DOLL (2005)

Reviewed By Jerry Saravia

If you were caught unawares by the New York Dolls in their prime, you could be forgiven after seeing the morose, tragic and highly illuminating documentary, "New York Doll." This film is really the story of a genuine talent who lost what he had and is aiming and hoping to get it back.

Arthur "Killer" Kane was the New York Dolls' bass player and shortly after the group broke up, his career went downhill. Kane played in one band after another but never got the attention he deserved and desired. The film alludes to the fact that the New York Dolls singer, David Johansen, was partly responsible. Johansen's career track was far different as he chose an alias, Buster Poindexter (heaven help us and the song "Hot, Hot, Hot"), and had some supporting roles in films like "Scrooged" and "Car 54, Where Are You?" By contrast, Kane only managed to be an extra in "Innerspace." When Kane saw Johansen on his television screen in a scene from "Scrooged," he became a raving maniac and nearly committed suicide.

In later years and through the 2000's, Kane became a Mormon and worked at the church's Family History Center in L.A. In a truly riveting and touching scene, Kane reveals that he discovered his father's death by checking his name at the Center. But this film does not purport to sentimentalize Kane's suffering - it is the story of his determination to play, at least once, as the bassist for the New York Dolls (never mind that there are only two other survivors of the former band). And when Kane actually manages to rehearse with the band, thanks to singer Morrissey, we wait in anticipation for the arrival of David Johansen. Will Johansen and Kane continue their bitter feud, or was it really ever a feud in the first place?

"New York Doll" is only 75 minutes long yet it is an engrossing documentary, fully embodying Kane's trials and tribulations with the essence of a tragedy, thanks to some priceless interviews with the surviving Dolls; Morrissey; Blondie drummer Clem Burke, and even some affiliates of the Mormon church (including a funny scene with Kane's new "groupies"). Despite Kane's mental disorders and failures with relationships, this is nevertheless that rare optimistic documentary of a man whose passion and steadfast determination to communicate with music far outweighed everything else. It is nothing less than inspiring.