To start a film with a young chap nailing a Coca-Cola bottle, a single metal string and electric pickup to a two-feet long plank of wood, which he plays subsequently in a creative, yet fairly non-musical manner, is certainly an obtuse introduction to a remarkable slice of history. Davis Guggenheim is the director, who has already won an award for ‘An Inconvenient Truth’, his intriguing Al Gore environmental work.

Yet, regardless of your personal beliefs, that film was an artistic gem, shot beautifully and both produced and edited into a believable package, which proved that even the most querulous of topics can find a sympathetic outlet. Guggenheim was a great choice for ‘It Might Get Loud’.

The thrust of this mid-2009 rock-umentary lies in drawing together the colossal talents of three generations of rock guitarists, Jimmy Page (of Led Zeppelin), The Edge (of U2) and Jack White (of The Raconteurs). From the outset, it is clear that Page is the guitar Grand Master. A paean of the true depth and style of musical discovery, still capable of leading from the front, yet curious enough to possess a youthful will to discover more.

Edge is the technological practitioner, capable of demonstrating a side seldom seen by fans of the supergroup of which he is a core member and, despite his early anger and drive, retaining a spiritual edge to his love of the guitar. White, on the other hand, is just as great in performance terms, yet he possesses a wide-eyed appreciation of these gods of the ‘axe’ and you can see that he wants to learn more. What a phenomenal privilege that a chance series of meetings between these three guitar greats should lead to a jam session of such gargantuan talent.

Strangely enough, there is scarcely an ego present in the raw studio of their assemblage. Yet, to be present, as a member of the production team, must have been thrilling in the extreme. That we, the viewers of this stunning piece of filmography, are able to share in its stripped-down creation is just a small part of the overall joy, as it uncovers the layers of each performer’s raison d’etre.

As stated earlier, Guggenheim’s production values are exceptionally high. The focus-pulled imagery, combined with musical brilliance. The little sub-stories, with their individual humour. The access to classic footage and the subtlety of lacing the production together is the stuff of Hollywood’s most compelling movies of the past fifty years. It is an eminently attractive work, accompanied by the sheer wondrousness of the individual and combined musical genius of its subjects.

You can learn about the origins of Edge’s nickname, discover how John Bonham’s drum recordings (with Led Zeppelin) were so perfect and wonder about White’s research into early Louisiana blues. You gain a personal insight into the importance of the first guitars owned by each of these ‘greats’. You are taken on a remarkably deep trip into each of their pasts and presents, through their amassed collections of hardware and recordings and provided with a depth of understanding that few albums can impart. The access is unrivalled.

Seldom have I found a musical documentary that meets so many parameters and that moved me so much. If you are into rock music, or possess any type of musical appreciative bent, then I urge you to buy a copy of ‘It Might Get Loud’, which I believe to be the ultimate example of the genre. This one goes straight to the top of the pile, it is that good.