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“Stranger In My Own Skin” is the latest documentary about musician Peter Doherty, following two previous films. The wait for a documentary about the tumultuous life of the Libertines frontman is finally over. In recent times, there was a Channel 4 film about the unsolved death of Mark Blanco, who attended a party with Doherty in 2006. Then in November, Louis Theroux focused on Doherty’s new life in France with his wife Katia de Vidas. Although “Stranger In My Own Skin” was released in theaters around the same time, it is now being shown on television. The film delves into Doherty’s struggles with addiction over the years, featuring raw and personal footage that has been collected since 2006. It is a very intimate portrayal, as it was directed and mostly filmed by De Vidas.
This film is clearly aimed at fans, but while it offers an intimate look, it lacks objectivity and perspective. Those hoping for a similar style to Theroux’s in-depth examination will be disappointed. Instead, the film delves into Doherty’s paintings, poetry, and side projects, as well as his popularity over the years. The beginning may not seem promising, with a flowery voiceover from Doherty stating that there is no neat and arranged story. This may make viewers question if they have the endurance for the two-hour runtime. However, the film quickly covers the Libertines’ peak and the aftermath of Babyshambles, effectively capturing the excitement and allure of that time. While it may not have been as groundbreaking as the Beatles in Hamburg, it was still a notable moment, as noted by James Endeacott, a former Rough Trade A&R representative featured in the film.
This documentary focuses less on the nostalgia of the past and more on the chaotic reality of Pete Doherty’s long-standing struggle with hard drugs. The filmmaker first captured his story in 2006, during a tumultuous time when Doherty’s addiction was at its peak and his band, the Libertines, had recently disbanded. Doherty’s drug use had led to stints in prison and his reliability for gigs was uncertain. The footage shows him agitated and wired, or drowsy and drooling, as he describes his realization of heroin addiction. The historical footage also includes explicit scenes of him using drugs. While there is talk of freedom and artistry, references to literary icons like Wilde and Dostoevsky, and a strange nostalgia associated with calling heroin “laudanum” or “opium”, there is a risk of romanticizing his addiction and portraying him as a social rebel. However, upon closer examination, the documentary does not glorify his struggles. Instead, it portrays the desperation and horror of his addiction, often evoking feelings of sadness. The most harrowing scenes show Doherty delaying his trip to rehab in Thailand, constantly seeking “just one more bag” of drugs.
Theroux appeared to tap into Doherty’s enduring fascination with the allure of drugs, but the documentary avoids delving deeply into this aspect. While it depicts a life consumed by addiction, it merely touches upon more intriguing details without fully exploring them. Theroux briefly mentions Doherty’s strained relationship with his father, his years in the spotlight of tabloids, and even his time in prison, but these moments of clarity often fade away and are left unfinished, leading instead to discussions of art or music.
It can be frustrating to watch this film because it lacks objectivity and a focused perspective to sort through the extensive footage and present a clearer, less abstract story. However, when moments of honesty and insight do occur, they are powerful. One particularly memorable scene shows Doherty’s return to heroin use and his acknowledgement of being on a destructive path and fearing death, despite not wanting it to be captured on film. The fact that De Vidas chose to film it highlights the intimacy of their relationship. Years later, this scene serves as a symbol of hope as Doherty appears to have moved past his addiction.
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Source: theguardian.com
