Stop Making Sense

Jonathan Demme, 1984 (9.2*)
I guess it helps to be a fan of the rock band Talking Heads to really enjoy this concert documentary, but for any fan of concert filmmaking, this will also be a treat. There have been other good concert films, like Martin Scorsese’s The Last Waltz, documenting The Band’s last concert, but for me this one went a little more over the top.

When I saw this in the theater, there were people dancing in the aisles, and the crowd was a huge range of ages. I was already a fan of the band, so for me it was an unexpected treat that I felt like I was also at this concert at the Pantages Theater in L.A., shot over three nights.

The band had just been a more intellectual punk rock band than most, led by the cerebral lead singer-songwriter David Byrne, known as much for his out-of-sync gyrations as much as songs. Then they added two former members of the Funkadelic-Parliament funk bands, Bernie Worrell (keyboards) and Alex Weir (guitar, vocals) and suddenly discovered rhythm, notably from the James Brown school of funk grooves. This suddenly rejuvenated the band and it’s obvious in this concert; they’re now a fusion of musical influences working together to create something unique. My own favorite here is near the end, “Cross-Eyed and Painless”, and I can’t imagine it without the P-funk connection. Of course there’s the hits, “Burning Down the House” and “Psycho Killer”, but just as good are “This Must Be the Place” and “I Get Wild/Wild Gravity”.

Ironically, Byrne is now best known for wearing the big suit around this era. On a live tv interview (Letterman?), Byrne said "a friend told me 'onstage, you're bigger than life', so I said 'oh, then I need a really big suit'"

If you’re just interested in good rock concert films as well, this is one of the best ever (maybe the best) - along with The Police “Synchronicity Concert” (a live concert, unedited, from the Omni in Atlanta, Ga), and the all-time classic, Woodstock (1970) which did it’s best to record both highlights of three days of concerts and also document the event itself. For these reasons, it will likely forever remain the ultimate rock concert film.

Demme is best known for directing the Oscar®-winning best picture The Silence of the Lambs (1991), for which he also won a directing Oscar®. Demme is currently the 78th ranked director on our top ranked 1000 films compendium of all polls, with 4 titles in the top 1000, with Silence of the Lambs his top-ranked at #47 all-time.

See the full list of top ranked 100 directors here: Top Ranked 100 Directors, 2011 Edition

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Richard Pryor Live in Concert

Jeff Margolis, 1979 (9.6*)
This is stand up comedy at it's best. Richard Pryor in his prime is as funny as anyone in history. No props, just a mic and an audience, and comic genius flowed forth like a fountain from the subconscious.

You simply have to get Pryor uncensored as well, the language is part of the humor, it all fits the syntax, the rhythm of the language adds to the humor, which at times moves into the hilarious stage. He will talk about anything, too - some topics here include his pet monkeys, a Chinese stutterer, people at funerals, good sex, his heart attack, whippings from his granny, and dudes lying.

This was a very successful lp, then CD, but you really need to see Pryor act out his humor, as much of it is facial expressions and hand gestures, and even body language, especially when he delves into the sexual realm.

Pryor has influenced comedy forever, it's too bad that he didn't really translate to films, largely because the dumb humor written for him was never as funny as his own stuff, much of it penned by writer Paul Mooney, who is still doing his own standup today. Mooney says that the way to attack racism is to get people to laugh at it first, and at this, Pryor succeeded like no one else. He does perfect imitations of caucasians (even a little John Wayne) and asians both, and has several black voices and characters as well.

This is rare ground, and I doubt there will ever be anyone this funny again in the arena of standup comedy. For what it is, this should really be rated a 10.0, but when I compare it to films that are emotionally moving that's the one thing this lacks.

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Jeff Beck: Live at Ronnie Scott's (2007)

Stuart Watts, 2008 (10*)
..audio by Alan Branch..
Jeff Beck is an amazing guitarist, the best of the three from the Yardbirds (Clapton and Jimmy Page were the other two). He eventually moved into rock-jazz fusion, which this set from Ronnie Scott's Jazz Club in London in 2007 ably demonstrates. Even though there's not a lot of rock here, fans of Beck or rock history will still be surprised at the melodic virtuosity he displays here, now in his mid-60's! There are guest vocals from Eric Clapton, who kills the mood somewhat with some more of his wimpy blues vocals, Joss Stone, who does her best Aretha impression on "People Get Ready", and Imogen Heap, who mixes best of the three with Beck, especially on a rock-hard version of "Rollin and Tumblin", done ironically after Clapton leaves the stage, perhaps as if to show how much more rockin Jeff is than Eric, as this song was a famous Cream cover of Clapton's.

Adding more virtuosity are amazing 22-yr old Aussie bassist Tal Wilkenfeld, whose solo on "Cause We've Ended as Lovers"(perhaps Beck's best composition) dazzles both the crowd and Jeff - by this time she had already played with the Allman Bros, Herbie Hancock, and Chick Corea, after just three years of playing bass, switching over from lead guitar. Former Zappa and Sting alum Vinnie Colauita is perfect and complex on drums, and another Sting alum Jason Rebello is intricate and dazzing on keyboards. This will more resemble a Zappa show musically, being mostly jazz-rock fusion, than Beck's first group, the Yardbirds, but will amaze fans, guitarists, and rock historians alike. Look for Beck's Grammy-winning cover of the Beatles' "A Day in the Life".

This is a "must-see" music concert dvd, shot in an intimate club setting. Look for many rock luminaries in the crowd, including Jimmy Page, Steve Perry, and I believe Ian Anderson.

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Sleepwalking Through the Mekong

John Pirozzi, 2009 (8.6*)
Mostly in English, with some subtitles.

There’s a very unique L.A. band called Dengue (‘din-gay’) Fever, whom you might have heard on NPR. They play a unique sixties-based 'L.A. filtered' Cambodian rock, which they say was derived from surf music, but you couldn’t tell from what Dengue Fever puts out, it sounds closer to psychedelic rock to me, with some almost Garcia-like guitar. The Holtzman brothers who formed the band hired a strong-voiced Cambodian singer, Chhom Nimol, who was famous there before immigrating to the U.S. Their music is actually covers of famous Cambodian rock singers, who, due to the massacres committed by the Kymer Rouge regime, sadly did not survive that turbulent era. Along with Nimol, they are keeping this music alive in the world, and in this film, they take the music back to its people.

Director Pirozzi has filmed an engrossing documentary of Dengue Fever as they travel to Cambodia for the first time to perform what is essentially that culture’s modern music, and for singer Nimol, it’s a homecoming after five years absence. Pirozzi often shows the band’s performances from a close and wide-angle view (see photo), making the viewer feel that they are seeing the music live themselves, sometimes from onstage, sometimes as part of the crowd.

Rather than concentrate on just the band, Pirozzi also shows many wonderful images of Cambodia and its people, successfully using a montage effect at times, like traveling is shown in old b&w classic films. Since the entire country seems to travel on motor scooters, a hand-held camera is often used from a scooter in the middle of the traffic so we get a feeling of how chaotic the streets are there, yet everyone seems safe enough that no one wears helmets, not even entire families of 4-5 people on one scooter. The band was lucky enough to be there during the Water Festival, celebrating the end of monsoon season when the Mekong River actually changes direction, so we get to see what looks like their Mardi Gras, as thousands pour into Phnom Penh from the countryside for a festival of fireworks, music, water sports, and food.

Pirozzi includes encounters with local Cambodian music masters, and we see some of the effort being made with young people to keep this culture alive, which barely survived the war years and in some cases has a lone surviving instrumentalist. The Cambodian people appear very outgoing and friendly, a friend of mine who lived in Thailand said as much. Director Pirozzi has created a wonderful film of cross-cultural meetings that created lasting impressions and immediate friendships.

My only complaint with this film is that at 65 minutes, it’s about half an hour too short, so it feels 'tv length'. Thankfully, Pirozzi added about another 45 minutes of short films to the dvd so viewers won’t be disappointed. In fact, one song, “1000 Tears of a Tarantula”, is a wonderful jazz excursion that blends the best of both American and Cambodian music into one ethereal musical journey – this is the best music on the dvd, and should have been included in the film. If you like the music, there’s an excellent soundtrack to the film on CD released as part of the dvd package. We need more music films this rare, stories that show good music, a joyous cultural exchange, and a window into a society that’s been overlooked far too long by the rest of the world.

Here’s the website for the film: Sleepwalking Through the Mekong
For artwork: Dengue Fever Promo Art

To be released in April 09

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Woodstock

Dir: Michael Wadleigh, 1970 (8.6*)

A monument to a culture and a three-day concert, featuring some vision-boggling split-screen editing that maintains your interest in between the rock and folk (yikes!) performances (there must be two dozen at least). The new director's cut is nearly four hours long. Believe it or not, Santana played here free and without a recording contract (Carlos was just 19)! They are a highlight, so is Jimi Hendrix, in a bittersweet performance after a rain delay to a waterlogged and sparse crowd; his feedback-laden, instrumental "Star-Spangled Banner" is a paeon to both the Vietnam war and electronic rock. Mind-altering is optional. 8* due to mediocre sound (and some folk music!), but still one of the best and most ambitious documentaries ever filmed.

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Police: Synchronicity Concert

Dir: Godley & Creme, 2005 (10*)

The rating is for the concert, one of the best ever recorded. The DVD also features the multi-camera format, you can switch from one camera angle to the other, or keep with the directors' choice as edited (10cc's Godley and Creme were the directors, who were criticized for too many crowd shots). Shot at the Omni in Atlanta, I can't imagine their music being performed any better. If you're a fan, this is a must see, as The Police are one of the best rock bands in history!

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Pat Metheny: Speaking of Now Live

Live Concert Video, 2003 (9.0*)

Pat Metheny is not only the greatest living guitarist but may well be the best in history, and I've seen Andres Segovia live! Not all these songs will please everyone, but the ones that shine (to you) are among the best live music you will ever see. Personally, I think Lyle Mays has the best soft touch and lyricism on the Steinway grand of any living pianist, so you're getting at least TWO of the world's best musicians in one group - this is music history, folks! Standout cuts for me were A Place in the World, Are You Going With Me? (on the incredible 42-string guitar built for Pat by a harpist), and the closing duet with Lyle and Pat (Map of the World). This is a MUST for musicians and jazz fans alike, and anyone who wants to see the BEST living player on his instrument.

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