What The Pretenders achieved in music is undeniable, yet their story has largely remained unchronicled on film until now. The Pretenders, a new documentary directed by Joss Crowley, premieres at the Toronto International Film Festival, tracing the band's origins from Chrissie Hynde's late '70s Akron roots to their formation in the U.K. and the subsequent years of musical masterpieces, band changes, and tragic losses. While focusing on the original lineup and their first five years, the film brings audiences into Hynde's present day, showcasing her enduring talent.

Hynde, famously private and camera-shy, presented a significant challenge for Crowley. The director had pursued the project for over a decade, finally securing Hynde's agreement in late 2023. Hynde laid down clear ground rules: the film should rely heavily on archive footage, focus on the band's narrative rather than her personal life, and avoid tropes like 'women in rock.' Her decision to participate was partly spurred by an unauthorized documentary attempting to tell the band's story, prompting her to ensure an accurate portrayal.

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One poignant motivation for Hynde was to honor James Honeyman-Scott, the band's original guitarist who died tragically in 1981. "For me, a rock band is all about electric guitar, and I think he was one of the great guitar heroes," Hynde stated, lamenting his absence from lists of top guitarists. "I thought he didn't get his due and that would be important for him."

Despite her initial reluctance, Hynde did agree to a brief on-camera interview at the film's conclusion, a compromise that Crowley believes reflects her personality. Hynde herself admits she hasn't watched the film and likely won't, a common sentiment among subjects of documentaries. "I've already lived through it, so I don't think I wanna go through it all again," she explained, also noting her dislike for the sound of her own speaking voice.

Hynde emphasized her desire to remain an ordinary person, shunning the trappings of celebrity. "I like being in a band, I just don't like being observed. It's a real problem," she shared, highlighting her preference for public transport and simple pleasures over a lavish lifestyle. She resists being a spokesperson or symbol, asserting, "I just wanted to be in a band. I've never graduated beyond that initial interest in it."

The documentary made a significant breakthrough with the discovery of never-before-seen footage from cameraman Andy Watt, documenting two weeks on tour with the original band. Additionally, the participation of Stan Tippins, the band's former tour manager, who read aloud from his detailed diaries, provided invaluable insights into the early years, particularly about Honeyman-Scott and Pete Farndon. Hynde expressed her eagerness to see the portions featuring Stan's diaries, acknowledging his vital role as the band's "wise man."

Crowley intentionally included moments where Hynde declined to discuss certain sensitive topics, such as Ray Davies or her family, out of respect for their privacy. Hynde maintains that she never sets boundaries with journalists but reserves the right to decline answering personal questions, emphasizing that a public story isn't inherently more interesting than an ordinary one.

Throughout her career, Hynde has remained consistent, drawing inspiration from figures like Lemmy and Neil Young, who never compromised their authentic selves. "If you wouldn't ask Lemmy to do it, don't ask me," she quipped, referencing her disdain for commercialism.

Crowley aimed to capture Hynde's unique personality in the film, embracing any awkwardness as part of her genuine character. He also made the unusual choice to include his own questions, especially those Hynde initially resisted, believing it offered further insight into who she is. Hynde herself acknowledged the evolution of the interview process, from free-flowing monologues to more structured conversations. She conceded to the inclusion of some on-camera interviews, understanding the audience's desire to see subjects speaking directly to the camera.

Crowley summarized his goal: "Make it good, and make it different." Given Hynde's aversion to cameras and the scarcity of early archival footage, achieving this was a considerable feat. The final on-camera interview with Hynde serves as both an achievement for the film and a testament to her steadfast privacy.

Hynde, along with original drummer Martin Chambers, plans to attend the Toronto premiere, promising it "won't be a beauty contest."