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You should go and see it and then tell me why I am wrong on those points, which hardly dent my rating for this as a definite 9+! I had the slightly uneasy feeling by the end of the film that Wenders might have excluded old footage on the basis that it would show up the modern recordings as something less than the genre at its best. And without that, the risk is that the players are being cheered not for their musical skills but merely as museum pieces and for the fact that they are capable of doing it at their age at all. I doubt if any but a few of his audience have any knowledge of the Cuban music of the 40s and 50s so as to judge with any accuracy what merit there is in the music they are creating today. It's a tough point to make, but the average 'son' singer does not I imagine consider at the outset of his career that he will only be hitting his peak in his eighth or ninth decade! If they do admit to having had a golden period in the past, why did Wenders not let us see footage of some of that. Can't comment so much about Joaquim's style when playing the drums, but there must surely be some 50-90 year old cuban drummer cursing his luck that he isn't in on the party thanks to Cooder Jr.? Second, what do Ferrer et al think about the music they are making now? How does it compare to how they considered they performed in decades gone by? Might they freely admit (as I suspect, honest and carefree as they clearly are) that they are reproducing now something which they did a lot better when they were younger? The question was never asked. Do they really need to be there? Ferrer and the old timers all kept tight lipped about Ry's slide guitar, NOT, I thought a prerequisite instrument of the average Cuban 'son' band, and dare I say it, distractingly awful in at least one place in the film. First, I continue to worry about Ry Cooder and his son Joaquim. and they still have libidos!', but maybe only they can say whether the men themselves consider the film to be a fair reflection of the whole of their personalities, and I doubt we will ever find out. There was without a doubt rather a lot of places where the intended conclusion of the audience seemed to be 'wow - old men can be cheeky. Perhaps there was a slight temptation at editing stage to steer the film towards certain themes. Instead, this is simply a record of what people have to say looking back on experiences from their lives which we can never repeat.

In some ways, the point of the film is not music - this could have been a film about people from any field. The stars of the film are the old folks, of course.

Although I've never been to Havana, it also appeared to me that Wenders may have judged well in his balance by showing Havana as a poor broken down city and not just a place full of '50s cars, grand old buildings and omnipresent 'faded glory'.

Nevertheless, he pulls out shots which are so luminous and well constructed that they make you gasp, and all done on a digital betacam! This makes BVSC one of the few documentaries I have ever seen which must be seen on the big screen to be fully appreciated. To start with, there is the amazing backdrop of dilapidated old Havana, which Wenders admittedly got for free. No sign-up required.This is a top class film in so many ways.

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