Music Documentaries Look At The Talent Just Beyond

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   Celebrity portraits by The Times

But as I started interviewing these women, the thing that surprised me is how indomitable they were." Case in point: Darlene Love, the uncredited vocalist for several girl-group hits in the 1960s, recounts in "Stardom" that she resolved to stage a comeback after hearing their website her "Christmas" song on the radio while cleaning a bathroom as a housemaid. "The film's not about achieving your dreams, it's about what happens when you don't," says Neville. TIMELINE: The Academy Awards through the years  Neville, who previously shot documentaries about Johnny Cash, Pearl Jam and Brian Wilson, points out: "Most of our culture is about celebrating the stars. You don't get patted on the back for being a good team player. There's a kind of resilience these women have that allows people in the audience to see themselves in these singers." Several other non-Oscar-bound films also look at music through various lenses. "AKA Doc Pomus" watches Felder evolve from a polio -stricken 6-year-old into the self-named master tunesmith responsible for the Elvis Presley anthem "Viva Las Vegas" and scores of other midcentury hits. "Muscle Shoals" gets acquainted with a self-effacing group of Alabama recording session players including Oldham, who came up with the piano riff that inspired Aretha Franklin to reinvent American soul music in her own likeness. "Good Ol' Freda" puts the camera on a quiet Liverpool typist named Freda Kelly, who ran interference for four lads called John, Paul, George and Ringo as fan club president. "Muscle Shoals" shifts the spotlight from "Stardom's" black background singers to a group of white players from northern Alabama.
Full story: www.latimes.com/entertainment/…

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