Perhaps if the song itself were foregrounded and the biography used to reinforce the song, Geller and GoldfineвЂ™s somewhat limited biographical sourcing wouldnвЂ™t feel so thin. The thing I wonder is whether Geller and Goldfine ( The Galapagos Affair: Satan Came to Eden) needed to treat Hallelujah as a biographical linear thing that pauses somewhere in the middle of CohenвЂ™s life for a long digression on John Cale, Jeff Buckley and Shrek. And then there are the more popular versions that are, if weвЂ™re being completely honest, nebulous paeans to yearning drained of those central themes. I think you need the biographical approach in order to see the contradictions and evolutions of вЂњHallelujah,вЂќ a song that took Cohen at least seven years to write, spawned notebook after notebook of scrawled verses and then split into versions characterized separately by spiritualism and sexuality - two of the many competing interests within CohenвЂ™s work. It turns out that even with this degree of focus, two hours is insufficient, though thereвЂ™s much to admire in the effort. Instead, it uses CohenвЂ™s protean anthem вЂњHallelujahвЂќ - not to be confused with CohenвЂ™s protean anthem вЂњAnthemвЂќ - as a centerpiece for exploring the conflicts at the heart of CohenвЂ™s history and his career, as well as the lives and careers of the other musicians who gravitated toward it. The documentary contains elements of a conventional biopic, but it probably wonвЂ™t satisfy audiences looking for a soup-to-nuts overview. Anthony Bourdain Documentary 'Roadrunner' Features AI Model of Late Chef's VoiceДaniel Geller and Dayna GoldfineвЂ™s Hallelujah: Leonard Cohen, a Journey, a Song - arriving on the semi-recent heels of Lian LunsonвЂ™s Leonard Cohen: IвЂ™m Your Man and Nick BroomfieldвЂ™s Marianne & Leonard: Words of Love - has a better grasp of the artistвЂ™s ineffable appeal than most, and a smarter approach.

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