Valley of The New York Dolls By Megan Carneal mcarneal@mscd.edu

   When rock stars grow up, age and become something that resembles one’s grandparent, it is much like the childhood trauma of finding out Santa Claus is, in fact, a lie. The betrayal one feels from knowing they have been manipulated into thinking some fat guy is actually going to squeeze down the chimney is the same betrayal one feels when their idols let them down and turn into ordinary people.

   The film “New York Doll” takes a frighteningly real glimpse at life after superstardom and what exactly happens to our idols once the sex, drugs and rock ‘n’ roll has passed.

   The documentary focuses on the retired life of Arthur “Killer” Kane, who played bass for the short-lived, but highly influential, proto-punk band The New York Dolls. During one of the first scenes, Kane calmly waits for his bus to arrive while he states, with a bittersweet laugh, “I’m demoted from rock star to schlep on the bus.”

   The Dolls formed in the early ‘70s, influenced by glam rock, the New York scene and heroin. They developed offensive and flamboyant appearances, and broke ground for future punk, metal and indie groups.

   After the death of guitarist Johnny Thunders, The Dolls disbanded. Kane went on to form other projects, but was never able to achieve the success of The Dolls. After loneliness and depression took their toll, suicide became a prevalent thought in Kane’s life and eventually manifested into suicide attempts. Kane became extremely vulnerable and when the persistence of suicide became too much, he joined The Church of Latter-Day Saints, a.k.a. The Mormons.

   The film follows Kane as he waits for busses, sorts through books at the church’s library and behaves like a respectable citizen, which is something completely alien to The Dolls-era Kane.

   After following Kane around his newfound religious life, the film turns to the prospect of the three remaining Dolls reuniting to play a festival put together by Morrisey, who has cited The Dolls as a major personal influence.

   The feel of the film is raw and amateurish, much like the pre-anarchic sound of The Dolls, with crude cuts between old films of live Dolls shows and the present Kane. There is an overwhelming melancholy that resonates from Kane throughout “New York Doll.” It is difficult, almost impossible, for a Doll fan to watch this documentary and not feel a twinge of sadness from watching Kane’s current state on film and especially from the surprise ending, which will invoke more than a few tears from any fan.