Searching for Sugar Man

Overview

In 1970, Mexican-American singer-songwriter Sixto Rodriguez released his debut album Cold Fact, containing a bunch of eloquent and socially aware songs. It's easy to see why the producers of this and his second album Coming From Reality expected him to be an overnight success - but he wasn't, at least not in the United States.

Not long after Cold Fact came out, a bootleg version of it made it's way across the Atlantic and two South Africans, record shop manager Stephen Segerman and music journalist Craig Bartholomew-Strydom were instantly taken with the folk-rock singer. They weren't the only ones, his music was hugely successful through-out the country because it struck a chord with young white liberals who saw parallels between the political tormoil of the American 1970s he describes and South Africa under apartheid.

Unsurprisingly, South African government officials didn't like what his music represented. His more controversial tracks were scratched to make sure they couldn't be played on the radio, an act which no doubt increased their popularity. A record label executive estimates around half a million copies of his two albums were sold in South Africa. But the most curious part of this is Rodriguez didn't know of his cult like status there because he never saw any of the royalties. His record company boss Clarence Avant insists he didn't either but how much truth there is in that, we may never know.

In the pre-internet era, when rumours circulated in South Africa that Rodriguez had committed suicide because of his failure in the music business, no-one doubted this fact, the only mystery was how he ended his life. Craig Bartholomew-Strydom set out to uncover the truth and after some time was joined in his search by Stephen Segerman. What followed is truly remarkable. It's so strange that if it wasn't true, no-one would believe it, and you're not going to hear any more about it from me. Seeing, as they say, is believing. The only real niggle I have with the film is the slightly narrow view we are given of  Rodriguez' career post Coming From Reality. Director Malik Bendjelloul omits details of his musical past most probably in order to up the emotional drama of the film.

Rodriguez is a highly elusive character. On camera he appears rather guarded, yet seems to have a genuine sense of humility and a very philosophical take on life. While his story of 'almost success' makes for fascinating viewing, the largely untold history of South Africa's white liberal classes and how his music gave their political resistence a voice is just as thought-provoking.