Los Lonely Boys documentary worth an ovation

When Hector Galán set out to make "Los Lonely Boys: Cottonfields and Crossroads" in 2002, he had no idea that his story of three musical brothers from San Angelo would turn into a classic rags-to-riches tale — a tale that led to a near-perfect conclusion for a music documentary: one Grammy Award win and 2 million albums sold.

Concho River Films 'Los Lonely Boys: Cottonfields and Crossroads' 4 out of 5 stars The verdict: Tells the compelling story of brothers from San Angelo. Director: Hector Galán Starring: Henry Garza, Jojo Garza, Ringo Garza Run time: 89 minutes Release date: March 17, 2006 Rating: Rated PG for mild language and some thematic elements. On the web Official movie site Rate 'Los Lonely Boys: Cottonfields and Crossroads'   Go see it   Make it a matinee   Wait to rent   Don't bother Voter Limit: Once per Hour View Poll Results

By the movie's end in 2005, it's easy to believe that Enrique "Ringo" Garza was right when he told his sons, "the sky's the limit"; they seem to have nowhere to go but up. Reality might suggest something different — Los Lonely Boys' just-released sophomore album, "Sacred," looks like it might not achieve the same sales numbers as their self-titled debut (and negative headlines haven't helped). But that one had a slow build — and so does the film "Cottonfields and Crossroads," which releases locally this weekend and goes wider in the next few weeks.

When Galán, who shares the band's hometown, started filming, guitarist Henry, bassist JoJo and drummer Ringo Garza were just getting introduced to Austin, playing tiny venues such as the Saxon Pub and Stubb's basement. With an insider's understanding of the culture that spawned these blues-playing Chicano boys, Galán delivers a clear-eyed vision of where they came from: a town where Mexican Americans lived in poverty and stuck together; where the pachucos — tough guys — wore zoot suits and spiffy Stacy Adams shoes and went out to the cantinas to dance. And to listen to bands like the one Enrique had with his brothers before he broke off and started another with his sons.

Galán mines documentary gold from several current and former community residents, including musicians on the scene, his own father and American-Statesman editorial page editor Arnold García, all of whom describe the segregation and discrimination they experienced there. But his ability to get family members to talk candidly about the pain they endured as they were split by divorce and distance (after Enrique moved his boys to Nashville) — and of course, the boys' decision to break away from Dad and go out on their own (a wound that seems like it may never heal completely, for any of them) — gives the film its heart. Galán's and first-time feature editor Jose Flores' technique of panning over old film clips while juxtaposing images from stills on top is a creative way of adding visual appeal to the historical elements that could have bogged down in less-skilled hands.

Galán could have trimmed a few road shots, as well as the scene of the family saying goodbye to a sister at the bus station (a further but unneeded illustration of how important familia is to this tight clan), but he effectively uses the music — along with manager Kevin Wommack's descriptions of how he guided the band, recollections of career-builders such as KGSR-FM DJ Jody Denberg and the brothers' own words — to build a sense of, well, almost suspense. When JoJo says he can't wait to get that first album out and get the shot they've been waiting for all their lives, it literally feels as if a race is about to begin. Just because we know what happens doesn't make it less exciting. And when we witness the brothers' 12-bar blues souls pouring out with their rendition of "Cottonfields and Crossroads," we know they deserve it.

The film ends before the downside of fame — including arrests that make national news — started catching up with them. But it captures their relative innocence and the sincerity of their dreams — not to mention their talent — and that's the story we want to see.