Shine a Light (2008)

Can somebody who has seen this film and loves The Rolling Stones, please discuss it with me.

I feel like this film would have been much more enjoyable and closer to perfection if I had an adoration for their music.

The film itself has no flaws, but it still managed to take me two and a half weeks to muster the energy to finish watching this.  I have never done that to a film.  But, had it not been a Scorsese film. I would have quit after the first latency (33 minutes in), or even after the second (4 songs short of the end) and that speaks volumes.

I selected this film on the belief that I had enjoyed The Last Waltz (1978) immensely without having even a slight notion or remembrance of the The Band's canon, and that spoke to the beauty and the raw appeal of the music and the film itself. 

Here, that feeling falls pathetically short, so that even when the songs become readily recognizable (the last 3 songs found me tapping along, alas) they were still not awe inspiring, or breathtaking, or remarkable, or anything other than complacently acceptable, and it wasn't until the final shot that I found something worth paying close attention to, wanting to rewind the film and study it, but by then I was too exhausted to care.

As a side note, Keith Richards is awesome in this film, better than in his swashbuckling adventures.  He is charming, and fun, and enjoyable, and ever so entrancing.  Which says something for a man that looks like a shaved Wookie carcase left out to jerky.

Between this film not appealing and The Dark Knight Rises (2012) critique on hiatus until I can get to a movie theater, the sabbatical from writing has been too long, and I'm itching to return to it, but this film does this enthusiasm no justice. 

I cannot find any notes to strengthen this critique or to serve my cinematic icon idol justice, but I guess that's ultimately his fault, although I feel like maybe it had more to do with the music choice in the first half of the film, and less to his Directing which still seemed well manicured and thought out.

If you're a Stones fan, then buy this film on Blu-ray, the cinematography is stunning, although I fear you already have a couple of copies of this.  Otherwise, catch it on-demand or online, or go watch a better film.

Glee: The 3-D Concert Movie (2011)

Artwork for Theatrical Release

Let's face it, you had forgotten about this "concert film," and those that hadn't are right now trying to uncross their eyes.

The Glee universe manages to divide people into polarity more so than any other topic, politics included. 

You either hate it, or you're me.

There goes all the credibility I had built up, street cred and all.

This concert film was really more of a musical documentary, and that's not a complement.  The music was badly choreographed and sparse for a show that puts out more music in a single hour-long episode than most Top-40 radio stations.

The only admirable and well shot part of this film is the 'gleek' segments that are shot outside of the concerts and in the little towns strewn across America.

Aside from that, the rest of the film is one bad decision after another, and often comes across as forced and ill-timed.   There are way too many crowd shots and for Christ's sakes, even the graphics are horribly executed and look cheap. 

I've done better graphics myself using Motion for local spots at $500. 

What's their excuse?

What the film misses, and take this from a gleek that sat through the second season, is the awesome theatricality that fans loved so much.  It was never really about the music, it was about rooting for these characters and hearing their awesome voices, but most of that is gone here.

The camera work and editing manage to neither capture the breadth of the performances nor the singularity of its performers, and both have a way of pissing me off throughout.

Many a time.

The few exceptions to my loathing are Rachel's (Lea Michele) rendition of "Don't Rain on My Parade" which still sends chills down my back, Brittany (Heather Morris) and Mike's (Harry Shum) dancing which is beautiful and electrifying, and Santana's (Naya Rivera) everything which is sensual and playful all at the same time and in the right amount.

As a side note, Barbara, if I ever leave you without notice for a woman I've never met, look to Naya first.  If I'm not there, call the police.

Catch this on Netflix or HBOgo one day when you're bored and looking for something frothy, although be warned that HBOgo's live streaming tends to go off-sync after about 15 minutes on full screen.

If you're not a gleek and looking to torture yourself and others, than be my guest.

Monterey Pop (1968)

Artwork for Theatrical Release

It's easy to mythify and overextend the beauty and impact of a specific instance of history [ahem Easy Rider (1969)].

Such is not the case with this film.

Shot in 16mm, over a weekend, and encompassing some of the most iconic performers of all time, and definitely stalwarts of their era.  This film manages to not preach, not teach, not prophetize, and does it well.

It would have been easy to take a film like this and turn it into a "Hey look, we are great" moment.  Instead, it allows the music to shine on it's own, giving us the occasional glimpse into the audience, and the sparse clip of performers off-stage, sometimes even admiring their colleagues.

The footage is not as clean or methodical as The Last Waltz (1978), but it's ever so beautiful, and it manages to feel a part of the stylization of the film.  An acid trip here.  A hair in the camera plate there.  All dancing in the wind, melding together, showcasing that you don't have to be clean to have fun, or make beautiful art.

Ultimately the film leaves you with an unresolved sense of awe and uneasiness.  So much beauty and so much rage.  So much creativity and destruction.  All condensed to 90 minutes of flawed perfection.

You swing from the mindless destruction of The Who to the beautiful mellowness of the Mamas and the Papas with a cold cut.  The former, as a side note is both anger-inducing and funny.  See if you can manage to watch this and not smirk as the crew runs to save the mics.

But there's an even more confounding instance of destruction, one that manages to be artistic, but full of rage, and creativity at the same time, all truly emblematic of this concert, and the era it would bring forth.  Jimi Hendrix's ear blowing rendition of "Wild Thing" ends with some of the most inventive guitar playing, and the most interesting pyrotechnics I've ever seen.

Artwork for the Criterion Blu-ray Release

Truly iconic, and beautifully shot, even in it's most serendipitous moments (i.e. Otis Redding's set).

The film finishes with one of it's most surprising performers, the quintessential sitar god Ravi Shakar (Norah Jones's father) and his fellow collaborator Alla Rakha, jamming for what seems forever.  Here you get, what one could easily find as the synthesis for the whole film.  Eastern influences, fueling the transcendent movement towards some undefined Nirvana; while the other performers, Cass Elliot and Jimi Hendrix amongst others, jamming along, being completely exasperated by the beautiful music being played on stage, all shot in medium shots.

Music aside, the film itself is gorgeous and worth the careful look.

Even if you don't have a fancy for this music, believe me, buy the Criterion Edition Blu-ray, it's worth having.

For the music.  For the improv film-making.  For the sheer enjoyment of it.

Under African Skies (2012)

Artwork for Theatrical Release

Like my encounter with Paul Simon's quintessential album Graceland (1985), this film was a happy serendipitous moment of exaltation.

With a throbbing headache sidelining me from work, I came across this film in the movies section of the HuluPlus website, and decided that it would make a good soundtrack to an early afternoon nap.  Boy was I wrong, about the nap that is.

The film was phenomenal, even if it showcased was is brilliant and problematic about HuluPlus.

The film provides a thrilling and cinematographically gorgeous travail into the craft of music/lyric writing.  There is a palpable and unmistakable synergy between the music and the images that follow it, which makes for a very enjoyable time.

The melding of old footage from the original studio sessions is both inspiring and perfectly melded into the new crisp footage.  Technically speaking, very close to perfection.

It manages to do something that Martin Scorsese's seminal concert film The Last Waltz (1978) couldn't do, which is make the seamless transition from song to song, from interview to song.

For those that have the album, for those that lived the album and its tumults.  For those who need historical context, for those that might have judged the album and its singularity.  Watch this film, it is great in its execution, it is great in its simple but deep thematics.

I loved the album when I heard it.  As a matter of fact, I had discovered "Diamonds on the Soles of Her Shoes" and had loved it, before I knew Paul Simon and had loved it.

Without context an album, a song, a piece of art, floats in the ether, judged by nothing other than technical merit and symbolic breath.

Here, in Under African Skies, lies its context for the uninitiated, buy it and store it away for the oncoming zombie apocalypse, along with the album.

Just don't watch it on HuluPlus, unless you can't help it, their computer algorithm (I hope) picks the worst times to cut away to commercials.

Lady Gaga: Monster Ball Tour (2011)

Artwork for the TV premier of the movie

Please hold your anti-Gaga comments.  She truly is a great singer, and this concert itself was phenomenal; the movie, not so much, which is sad.

I half expected a better effort cinematically from the Haus of Gaga, which should not be taken as a detrimental statement on the rest of the show, that was spotless, and her singing was spot on and awe inspiring.

The intro started very well, and the concept of separating the stark Technicolor-ness of the show with a black and white behind the scene was inspired, but the execution gets exhausting after a while.  Case in point, the in between segments between sets, provided no added bonus other than to show you what goes on backstage (acrimoniously, because we don't know, or can guess, that she runs backstage and rushes to get changed by a million people).

That aside, I enjoyed the concert, it was energetic, it was well rehearsed, well presented, and the sets and costumes never ceased to excite and surprise.

It, by no means, comes close to the cinematic oeuvre that is Martin Scorsese's The Last Waltz (1978), but it is no less enjoyable.

If you are a fan of popular music, 'pop' it in and enjoy.

The Last Waltz (1978)

I love superlatives, so here it is, phenomenal.

Trifecta of perfection.  I love Scorsese.  The music from The Band was great.  And the camera work was awe inspiring.

Martin Scorsese seems to be the rare filmmaker that is in love with the art of filmmaking and all its permutations.  He has done an exceptional job in films, documentaries, and short films.  He's a silent film short of being a god, although I am sure his college years brought forth one.

The music from The Band, which, full disclosure, I had never heard before, was shattering.  A bit country, a bit rock-and-roll.  A bit 60s folk and a bit blues.  Every bit of it as good as the last, and since I recognize few of the guests by face, it moved me in ways, that I assume teenagers and other people listening to this for the first time in the 60s and 70s would have felt.  I am now enamored with a band called The Band, which hasn't existed in nearly 40 years.  Cue sarcastic exaltation.

Finally, the camerawork was really the most shocking aspect of the film.  The contrast between darks and highlights.  The way dust particles danced around the beams illuminating the band, and even the short focal length of the compositions, make this concert film, feel more like a beautiful narrative film.  The 16mm film it was probably shot on lends it a richness which the highly saturated modern concert films, almost always shot digitally can't even attempt to approach.

Watch at all expenses, you will not be dissatisfied.

Not the Messiah: He's a Very Naughty Boy (2010)

Cover for 2010 DVD release.

Allow me to first divulge the fact, that I am tepid on the subject of Monty Python. They are hilarious, they are brilliant and they gave radical birth to Terry Gilliam, one of the most influential directors in my lifetime, even if his last movies have been all but inspiring; but when I need a laugh, or to simply relax and shut down, I never put them on.

My wife on the other hand, loves them.  I know I've done something wrong, or should otherwise tread carefully when I get home and my wife is watching one of her Monty Python DVDs.  It usually means, that either she's had a horrible day, or is sick, no other option.

Having said that, I actually loved this concert film, although I should warn the usual lovers of Monty Python, that I can see many an instance for you to hate this one.  The language is hard to understand when it's sung (at no fault is anyone, just the medium), and where a visual gag will often compensate for this, there are none here.

The concert is more in tune with the usual PBS concerts, all be it, a hilarious concert where an awe inspiring orchestra and choir are a fart joke away from being sent back to first grade.  It is hilarious, in a way that only Eric Idle and his cohorts can pull off.

The singing is great, the lyrics as well, and the 'surprise' guests, which are all divulged in the opening credits, are still great and surprising, in their own ways.

Enjoy the concert, if for nothing else, than at least to hear a great rendition of what I assume is operatic porn.