"Can—the Documentary" is a superb and strange German-made documentary about the edgy, musically prophetic band, the Can. The film combines dynamic live concert footage with short experimental video clips, and enlightening interviews with the band members.

Rudi Dolezal and Hannes Rossacher directed "Can." Both of them have a history of doing rock-related films, and Dolezal has collaborated with artists associated with the glam rock or glitter movement. Dolezal directed rock videos that were included on "The Best of Bowie" video collection, as well as "Freddie Mercury: The Untold Story," and "The Queen Phenomenon." He also did "Bon Jovi: The Crush Tour," which chronicled a rock tour by an ‘80s hair metal band (which is glam inspired pop metal).

Rossacher has also collaborated with Dolezal on some film/music projects. But "Can—the documentary" may be their strongest and most idiosyncratic work yet. Part of the reason is that their subject is so fascinating.

The German band the Can occupied a space where underground rock, avant-garde classical music, and free jazz converge. Several members were pupils of the great composer/music theorist, Karlheinz Stockhausen, and others learned to play from jazz or gypsy street musicians. They were part of a great ‘70s rock movement along with Kraftwork, Faust, and Amon Duul. Their creative and eclectic sound was a huge influence on future musicians and elevated them from the rest of the pack.

Their music inspired industrial rock in the ‘80s and the alternative movement in the ‘90s. The Chicago based Tortoise, Aphex Twin, Sterolab, Brian Eno, Talking Heads, Ministry, Sonic Youth all owe a huge debt to the Can. Sonic Youth leader, Thurston Moore said "Can were our clarion call, our initiation to our future."

The band was very spontaneous and they would try anything for a laugh or to achieve an unusual sound. The film includes a wonderfully surreal video in which the repetitive, trance-like song, "Spoon" is accompanied by daft images of the members in unusual positions at off-putting angles. The de-centering images are perfect with the song. Then as soon as the clip ends the band members launch into a lengthy discussion about the problem of nose hairs.

The members were quite quotable and they liked to perplex listeners with Beatlesque quips. At one point in the film the Can bass player, Holger Czukay, says, "I’d love to live in Iceland or Greenland, and to sell the penguins the records, if possible." At another point a member says that Jaki plays like a machine without a humanizing function.

The film is so superlative that it is bound to get non-fans interested in the group, and for long time fans, the film is a veritable feast for the eyes and ears. "Can-the documentary" is required viewing for anyone that is interested even remotely in progressive music. It’s one of the weirdest, wackiest, and memorable music documentaries ever made.