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Abstract: Marianne & Leonard: Words of Love is a movie starring Nick Broomfield, Marianne Ihlen, and Leonard Cohen. An in-depth look at the relationship between the late musician Leonard Cohen and his Norwegian muse Marianne Ihlen /
countries: Canada /
duration: 102Minutes /
directed by: Nick Broomfield /
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Updated / Tuesday, 23 Jul 2019 18:55
Leonard Cohen and Marianne Ihlen on Hydra (Picture Aviva Layton)
Marianne Ihlen, a Norwegian woman, was a constant presence throughout the singer Leonard Cohen’s life. Marianne and Leonard: Words of Love documents their relationship evenly and sensitively
For the uninitiated – yes, they are out there – one of Leonard Cohen’s best-known songs is So Long, Marianne, addressed to Marianne Ihlen, the woman with whom he maintained an on-off relationship throughout his life, after they met on the Greek island of Hydra in 1960.
Those of us who sang and had guitars used to sing that one, in our fair-to-middling way, along with other Cohen ballads. It never occurred much that singing the chorus line, Now So Long Marianne seemed at odds with the lines that followed, which ran: It’s time that we began to laugh/ And cry and cry and laugh about it all again.
If you are saying goodbye to somebody, well, you don’t usually make plans to ‘laugh and cry and cry and laugh about it all again’ with the person you are saying farewell to. We probably saw it as, well, poetry, for Cohen had been a poet.
Writing Beautiful Losers on Hydra (pic Axel Jensen Jnr)
In Nick Broomfield’s engaging film, we learn that the song’s chorus originally began Come on, Marianne, rather than So Long, Marianne. That makes a lot more sense, Come on, Marianne is a rallying cry – pick up the pieces, try again.
The film begins on the island of Hydra, shown to be a seductive place in the 1960s; a lifestyle fueled by cheap booze, cheap food and drugs, cheap or otherwise. There is no pleasure without pain and Broomfield’s film discerns the island’s seductiveness to be a toxic thing, the illusion of freedom without consequences.
In principle, it was a lifestyle based on living simply, and respecting others while nurturing one’s creativity. However, open marriage caused emotional confusion and children suffered. Alex, Marianne’s son from her first marriage, was later committed to an institution.
Broomfield also spent some time on Hydra, years after Cohen departed and he became Marianne’s lover for a spell. Marianne and Leonard: Words of Love is the film-maker’s story too.
Marianne Ihlen (picture Nick Broomfield)
Hydra wasn’t all hedonistic pleasure-seeking of course, there is no such thing really in life, someone is always operating, working, bills must be paid. Cohen wrote the novel Beautiful Losers on the island, rising early to work in a disciplined fashion while Marianne served him food. He was on ‘speed’ at the time and the book was panned on publication.
The singer Judy Collins recognised Cohen’s talent and recorded his song Suzanne, concerning Suzanne Verdal, the woman he fell in love with after the relationship with Marianne hit the rocks. Collins urged him towards his first live performance In 1967.
He broke down in tears, from sheer nerves, but she followed him backstage and coaxed him back by promising that they would walk out there and sing together. He then signed with music label Columbia and became a star. Drugs were a constant in that period, mandrax seems to have been the main attraction.
Marianne Ihlen (Picture Nick Broomfield)
Meanwhile, the singer had all the women he wanted, they gathered around him after gigs as though he was some kind of saviour. It was all a bit of an act maybe, this was showbiz too, as well as everything else.
Cohen and Ihlen both died in 2016, within three months of each other. As she lay dying from leukaemia, Ihlen received a letter from her erratic paramour, then aged 81. The message ran as follows: “Well Marianne, it’s come to this time when we are really so old and our bodies are falling apart and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine.
“And you know that I’ve always loved you for your beauty and for your wisdom, but I don’t need to say anything more about that because you know all about that. But now, I just want to wish you a very good journey.
“Goodbye old friend. Endless love, see you down the road. ”
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On the back cover of Leonard Cohen ‘s album Songs from a Room, there is a photograph of Marianne Ihlen. She sits wrapped in a white towel, fingers poised on Cohen’s typewriter. Her hair is tousled, her grin wide. The windows are shuttered but there’s a feeling of light, warmth, and breeze in the room. Ihlen, Leonard Cohen’s muse/partner (one in a long list), lived with Cohen in the mid-1960s on the Greek island Hydra, where they met. She eventually traveled to join him in Montreal, New York. She famously inspired many of his songs, including “Bird on the Wire, ” which she suggested to him after seeing birds sitting on a telephone wire like musical notes. And then of course, there is “So Long Marianne, ” where Cohen sings:
I’m standing on a ledge and your fine spider web Is fastening my ankle to a stone. Nick Broomfield’s “Marianne and Leonard: Words of Love” is meant to highlight the role of Ihlen in Cohen’s life, using sun-drenched home movie footage from Hydra, showing Ihlen on a boat, golden and gleaming in what looks like a paradise. But “Marianne and Leonard” turns out to be a rather run-of-the-mill documentary about Cohen’s journey, taking us down well-documented paths – the early support of Judy Collins, the chaotic Isle of Wight concert in 1970, a drug-fueled show in Israel where Cohen shaved his beard mid-show, his time in the monastery, losing all his money, the Phil Spector album (if you’re a Cohen fan, you know all of it by heart). Broomfield is somewhat notorious for inserting himself into his films (” Kurt & Courtney, ” ” Tales of the Grim Sleeper, ” “Tracking Down Maggie) and he does so here as well. Broomfield knew Ihlen (he can’t resist informing us that the two were “lovers”), and, as with Cohen, Ihlen championed Broomfield’s early work, encouraging him to start making films. Broomfield says he “became intoxicated by the beauty of [Cohen and Ihlen’s] relationship. ” But Ihlen herself doesn’t really emerge into specificity, and some of the footage – particularly footage of her on her death-bed – feels like an invasion of privacy. Ihlen, dogged for years by reporters, even after her relationship with Cohen ended, tried to live quietly. It was hard to avoid publicity, though, when Cohen continued to reference her on stages around the world. Still, “Marianne and Leonard” gives the sense that the rest of her life was an “aftermath” to that powerful relationship. Included are tape recordings of Ihlen speaking, and her pain at having to let Cohen go is still raw in her voice, decades later. There are recordings of Cohen, too, recalling his time on Hydra, writing his second novel Beautiful Losers in one long burst of energy, sitting in the sun, while Marianne brought him food, surrounding him with love and comfort. His memories of her remain extremely specific, even after years of separation, and this is part of Cohen’s appeal to his fans: The women in his songs are not generalized, like in so many songs. They aren’t even idealized figures. They sound like real people, complex women whom Cohen knew well. The strongest aspect of “Marianne and Leonard” has nothing to do with Ihlen or Cohen, but is the vivid picture painted of the 1960s counterculture, particularly its manifestation on Hydra. Everything was a party until the party came to a crashing halt. People found Hydra a haven, a place to escape the boredom and conformity of life elsewhere. But the survivors (and there aren’t many) remember the drugs and alcohol, the broken marriages, parents abdicating their responsibilities, children growing up too fast. (Ihlen’s own son could not adjust to life after Hydra and was institutionalized. ) The roster of Hydra people now lost to suicides, overdoses and insanity, is lengthy. One woman, a child on Hydra at the time, says in the film that many were “irreparably damaged” by their time there. Broomfield really knows what he is doing in these sequences, getting fantastic interviews from people who were there. The most vivid character in Marianne and Leonard is the 1960s. Cohen flourished. Others were not so lucky.
Some of the interview subjects take on a life of their own, like Aviva Layton (widow of poet Irving Layton, who took Cohen under his wing early on). Her comments spark the film with her no-nonsense one-liners and sense of humor. “Poets do not make splendid husbands, ” she states flatly. “Open marriage was the thing then. Whatever the hell that was, ” she says, followed by a burst of laughter. She brings some insight into the sometimes-tormented relationship between Ihlen and Cohen: “She wanted to be with him, and you can’t be with Leonard. ” Cohen’s guitarist Ron Cornelius shares memories of the insanity of touring with Cohen, the drugs, the women. Cohen was not built for monogamy, nor did his era support it. He speaks openly of being addicted to sexual conquest. In “I’m Your Man, ” Cohen wrote: I’d crawl to you, baby, and I’d fall at your feet And I’d howl at your beauty like a dog in heat And I’d claw at your heart, and I’d tear at your sheet I’d say please I’m your man It’s not surprising Cohen’s success with women, given lyrics like that. Broomfield’s portrayal of Cohen’s life and career is not as interesting as all the Hydra stuff, but it’s fun to see the footage, concerts, shows, parties. Ihlen, though, remains a gleaming vision on a sailboat, a woman caught up in “free love” who found herself in actual love with a very unattainable man. It’s one of the oldest stories in the book. Being a muse may be flattering, but being a muse is also lonely. As Ihlen says at one point, “My love for him destroyed me. ” She died in July 2016. Leonard Cohen died just three months later.
Sheila O’Malley
Sheila O’Malley received a BFA in Theatre from the University of Rhode Island and a Master’s in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here.
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Dir: Nick Broomfield. Featuring: Marianne Ihlen, Leonard Cohen, Judy Collins, Helle Goldman and Richard Vick. 12A, 102 mins
A little after the death of Marianne Ihlen, the woman who inspired Leonard Cohen ’s 1967 track “So Long, Marianne”, a letter was circulated by the media. It was authored by the musician, who had written to his old love, now on her deathbed: “Dearest Marianne, I’m just a little behind you. ” Ihlen died in July of 2016. Cohen followed just three months later. It’s this moment of bittersweet romance that frames Nick Broomfield ’s latest documentary, Marianne & Leonard: Words of Love. Yet, while we may expect to be presented with a love story for the ages, in truth, Bloomfield’s approach is too wrapped up in the old obsessions with male genius and the rock ’n’ roll lifestyle to really give Ihlen her dues.
The pair first met on the Greek island of Hydra in 1960, which by then had become a hub for wealthy bohemians, populated by artists and intellects of all breeds. They shared an instant attraction and soon settled into a tidy routine of artist and muse. Cohen, by this point, had not yet stumbled into a career in music, but was a frustrated novelist. He’d write a handful of pages a day of his novel Beautiful Losers, usually while high on acid, as Ihlen brought him sandwiches. “I was his Greek muse, who sat at his feet, ” Ihlen, in an archive recording, recalls.
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However, Cohen grew frustrated with his lack of success (the press called Beautiful Losers “the most revolting book ever written in Canada”) and left Ihlen to travel to New York. It was there he discovered the burgeoning folk scene and – after playing “Suzanne” for Judy Collins, who insisted he recorded it – hit his creative stride. But his climb to the stratosphere was also a death sentence for his relationship with Ihlen, as he became more and more entranced by the hedonism that surrounded him. She moved to New York to be with him, all while he sang about Janis Joplin “giving me head on the unmade bed” in “Chelsea Hotel #2”. But, here, the documentary drifts further and further away from Ihlen, distracted by the standard biographical points of Cohen’s life: his collaboration with Phil Spector on Death of a Ladies’ Man, the writing of “Hallelujah”, his drug-fuelled antics on tour, and even his stay at a monastery in the 1990s.
What’s particularly frustrating about Marianne & Leonard is that it skates around the most insightful aspect of this story, as Broomfield begins to dissect the realities of the “free love” movement of the 1960s and its effects, suggesting that polyamory had been adopted as a norm by people who didn’t fully understand what it entailed, in a way that made them vulnerable to heartbreak and humiliation. The island of Hydra, meanwhile, is painted as a beautiful, intoxicating place that destroyed all inhibitions, leaving some of its inhabitants “irreparably damaged” by the experience. Children were neglected by their parents, or even had their drinks spiked. Ihlen’s own son Axel, it’s mentioned, spent much of his life in psychiatric hospitals.
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Yet, Marianne & Leonard lacks the necessary sense of introspection needed to explore these themes in full. It may have a lot to do with who’s behind it. Broomfield is notorious for inserting himself in his work, as he did in his infamous 1998 documentary Kurt and Courtney, and though he doesn’t appear onscreen here (outside of a few old photographs), he mentions mere minutes into the film that he too was once one of Ihlen’s lovers. His interactions with her consistently crop up, including when she visited him in his “chic squat” in London, but they add nothing to her story. They’re all just a big boast.
It also colours how he sees Ihlen. When he talks exclusively about her “smile and enthusiasm”, her gentle presence, and the way she’d encourage all those around her, he only further reduces her to the image of a living muse. Perhaps it was just too tempting, considering even Ihlen dismissed herself in this way. Broomfield often returns often to the same piece of footage, shot by DA Pennebaker in the 1960s, of her against the Greek sun, the wind softly playing with her hair. It’s excessively idyllic and, in the sections about Ihlen’s time away from Cohen, the music is dutifully sad and wistful. It’s as if the film wants you to think of Ihlen as Penelope, waiting faithfully for Odysseus to sail home.
Meanwhile, Broomfield delights in reciting the dizzying creative and personal highs of Cohen’s career, as he travelled the world with a different woman on his arm every night – the director’s too enamoured with the music god to ever be too critical of his actions. Marianne & Leonard sees him shape Ihlen and Cohen’s romance into something that suits his own whims, but never do we learn how it felt to be the woman to whom Cohen would say “so long” every night on stage.
Marianne & Leonard: Words of Love is released in UK cinemas on 26 July.
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