Video

Nick Broomfield’s new documentary, Marianne and Leonard: Words of Love follows the peaks and valleys of beloved Canadian singer/songwriter/poet, and Montreal local, Leonard Cohen’s life, throughout his career up until his death, beginning with his time on the Greek island of Hydra in the 60s.

It was there that he first met his longtime lover and muse, Marianne Ihlen, who served as inspiration for one of his most beautiful and successful songs, So Long, Marianne. When Ihlen and Cohen first found each other, Cohen had yet to cross over into the world of music, and spent many of his days on the island, which was at the time somewhat of a known Bohemian Utopia, doing speed and working on his book, Beautiful Losers.

Ihlen, a Norwegian expat and recent divorcée, was also seeking refuge from the trials of life on the idyllic island with her son, Axel, when she met Cohen. There was an immediate connection between the two, and thus began the start of an on/off relationship which would go on for a decade, and a connection that would last for a lifetime. 

Nonetheless, what seems to be the beginning of a blissful companionship under the sun between the poet and his muse is put on hold when Cohen decides to return back home to Montreal. While he’s there, he decides to play a piece of Suzanne for Judy Collins.

Also featured in the documentary, Collins recounts his nervousness, as he says he can’t sing or play the guitar, but the song ultimately speaks for itself. Suzanne is an immediate hit, and Collins gets Cohen to perform it at a fundraiser with her. His timidness on stage—even leaving the stage halfway through the song, only to be brought back out by Collins—is a huge part of what has made the charming, but humble poet so beloved by all.

This is a life-changing moment for everyone; Cohen’s success skyrockets from this point on, as the world gets a new star, but Ihlen’s picturesque partnership with Cohen will never again be the same.

Though the title posits a love story, Ihlen’s presence in the documentary is scarce. In spite of the director’s inside connection to her as a close friend as well as a former lover, very little detail of Ihlen’s personality or life is incorporated into the film, with her only notable screen-time being footage from her deathbed—arguably something perhaps too intimate for the screen.

For the most part it seems that the film is primarily a Leonard Cohen story, following the eruption of his career and success, and weaving through the familiar tale of his fame, including his countless lovers, indulgent drug use, and overall turbulent mental health.

What we see of Ihlen is a fragmented portrait of a young, blonde woman, often looking out longingly at the sea, seemingly dreaming only of Cohen. Contrasted by the occasional peripheral remark about the toll of it all on her young son, Axel, who spent much of his life in and out of institutions as a result of the somewhat hedonistic insouciance that characterized the 1960s and 70s.

The story is in many ways more revelatory of the time than it is of its characters, with little unique insight into the mind of either Cohen or Ihlen. In the light that Broomfield sets the scene, it feels to be somewhat evident that the “undying love” between Cohen and Ihlen proves to be far less romantic than Cohen’s poetic ballads. 

Overall the documentary makes for an interesting watch as you are guided for a nostalgic stroll down memory lane with a great deal of interesting footage of Cohen throughout his career. Though of course there is undoubtedly substantially more documentation of Cohen available for use than there would be of Ihlen, perhaps titling the film Marianne and Leonard is somewhat misleading.

Broomfield still, however, manages to paint a complete picture of the time during which the famed relationship occurred, and even chips away somewhat at the unwoven seams of Cohen’s character and career, even if Ihlen’s character is never developed beyond mere ‘muse’.

There is still a chance to catch it in theatres.