The Last Waltz (Special Edition)
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Movie Reviews of The Last Waltz (Special Edition)
Movie Review: A testament on how corporations have destroyed music
Summary: 5 Stars
Here is a concert that took place over 20 years ago and the music is fresh and enjoyable as if was when it was new. Even more important here is a group of musicians who were on the road for years, working clubs and bars that had a chance to become a success due to their musical ability not what company they were with. Not one person in this concert could become a success today. Imagine any member of The Band, Bob Dylan, Neil Young and any of the other players, on this special night, trying to make it in the business today. These people were not placed together to saturate a demographic. They were not assembled for a particular look to please the 12 to 15 year old female audiences. They were not a promotion by a record company or radio conglomerate to build up a profit base in a particular section of the country who haven't been buying enough records of a particular type in the last three months. These are a bunch of guys who got together to play music, get laid and party and are thrilled that you could come along for the ride. This is a look back on what was going on before music was a global business that completely controlled what was to be deemed talent. I didn't mean to use the context of a movie review to spout off about what is going on today in the music business but the whole time I was watching I was plagued with the idea that the future generations would not have a Bob Dylan or Robbie Robertson to take inspiration from. Can the Backstreet Boys inspire you with their musical ability or Britney Spears, who can't even perform live, make you want to learn an instrument? I'm sure that there are many new talents, Alicia Keys and Creed come to mind, (both of whom were rejected by every major label) out there but will they get the exposure to effect the future as these people did; only time will tell.
This DVD release came out when there is a `revival' of the older 70's and 80's bands so it is actually timely. The reason of course for this revival of `oldies' is because there is so little in the way of creative music going on now and the copyrights have run out on the songs so for the most part the cooperations rake in all or most of the revenues from these greatest hits copulations.
The movie itself was a great mixture of interviews and the concert itself. The interviews were some single and some group but all very short glimpses into the character of each of these persons as part of the band. There were two songs that were done in the studio that really emphasized the roots that this music came from, Gospel (Staples) and Country (Harris) but both of these went with the flow. This is a concert of `imperfect' music with a sound from ordinary folks playing songs that most anybody with some guitar training could master quickly. This was an affirmation that this band, as a total, was certainly greater that each of its parts. A great way to spend an evening with a six-pack, a pizza and your system turned up loud.
Movie Review: The Original Roots Rockers' Last Hurrah...
Summary: 5 Stars
...and it doesn't matter that they came crawling back later, as all the legends seem to do, in ill-conceived, poorly-received reunions. This was an absolutely deserved celebration/sendoff of this anachronistic band. Much bigger stars than them came onstage to pay them homage, and were rewarded with wonderful accompaniment. "I just wanna say, before I start, that it's one of the pleasures of my life to be onstage with these people," said Neil Young, as he joins Jonie Mitchell and The Band, creating for a moment a Canadian supergroup.
The highest of the many high points in the film is the concert footage of Van Morrison. The Band coaxed this notoriously nervous performer into delivering a wild, joyous, smokin' rendition of "Caravan". Robbie Robertson wrung the last bit of soul out of this very soulful number with his guitar, so much so, that Van nearly blew his lines, he was grooving to it so much. It is much better than the version on Morrison's own classic live album, "It's Too Late To Stop Now", and it may well be Morrison's finest recorded live moment.
There's much more: Ronnie Hawkins delivers an uproarious version of "Who Do You Love"; Levon Helm matches Paul Butterfield yelp for yelp in "Mystery Train"; Robertson holds his own with Eric Clapton on "Farther On Up The Road", much more so than the facelessly competent sidemen Clapton usually uses. The interview segments are unintentionally funny sometimes, as the laconic Band members field questions and give reminisces to the overcaffeinated Martin Scorcese.
Ironically, the less effective parts of the concert are the supposedly climatic numbers with Bob Dylan. "I Don't Believe You", in particular, sounds stiff when compared to the full-on, fur-flying versions from the Royal Albert Hall days a decade earlier. The Band's own songs pale just a little in comparison with their own earlier live recordings, too (though the footage of the late Rick Danko and Richard Manuel singing is now quite poignant). The studio numbers with The Staple Singers and Emmylou Harris are wonderful country, pure Americana.
The DVD extras include the usual flashback commentary, but also the only extra musical footage from the concert, a long, shuffling blues jam. It's led by Garth Hudson, Paul Butterfield, and Neil Young. A couple of guests who aren't in the rest of the film show up: Carl Radle and Stephen Stills. Young and Stills barely glance at each other, but their guitars mesh quite nicely. Oddly, Eric Clapton plays for a few bars, and then gets up, speaks to Butterfield, and leaves. Wonder what that was about...
All in all, this is a wonderful, revelatory film, a perfect introduction to a band that was influential beyond all proportion to their own popularity. Tell your children! Rock wasn't always "just noise". It had heart, soul, and people who truly loved to play it.
Movie Review: More than an Amazing DVD - A Historical Document . . .
Summary: 5 Stars
Really . . . This DVD is amazing.
Not just because of its excellent sound (5.1 remix is just fantastic).
Not just because of Martin Scorsese's production/direction. (The film quality is soooo good, sooo clear, in part because of Scorsese's and The Band's decision to film with 35mm - most rock concerts at the time were 16mm. Also, they just didn't set up a music concert stage and have the camera-guys run around and get the best shots/angles they could. Instead, their approach from the beginning to make the stage at Winterland a movie set, with camera angles pre-thought at least in part, resulting in a more cinematic look, and better composed angles. This and the 35mm decision sets this film apart from almost all other music concert films of the time.)
Probably what adds the crowning jewel on top of the audio/video production is the players here. It's like a time capsule of mostly excellent performances of many of the most significant musicians of the time (from Dylan, to Dr. John, to Eric Clapton, to Mudddy Waters - an absolutely riveting version of Mannish Boy - to Van Morrison, to Neil Diamond, to . . . well the list goes on. And on.) In this way, the Last Waltz is like a perfectly preserved historical snapshot of "popular" music in the mid-70's.
None of this would matter, though, if at least the sound quality were not stellar. And it is here. . . I've had other experiences with other music performance DVDs of bands I really like (Queen comes to mind), but the sound, even though in DTS or Dolby 5.1, just isn't up to par. It ruins the experience, to a certain extent, for me. With the Last Waltz, and with Martin Scorsese producing this, I suspect that the Dolby 5.1 remixing guys were blessed with excellent analog source recordings, which just sets the quality of the music just over the edge. I listen to this with the TV off sometimes, though it's too bad the interviews between songs can't be somehow avoided when playing the DVD as "sound only".
Lastly, speaking of the interviews, though I find them really fascinating and entertaining, they are also the source of the only problem I have with this DVD - the volume of the interviews. The interviews are not in 5.1; only PCM 2-channel stereo. That alone is not a problem and even makes sense - what do you gain from a 5.1 sound interview? However, the interviews are at a noticeably lower volume than the music. Annoying, but not enough so to even take a 1/2 star off my 5-star rating. . .
I haven't played this DVD for anyone who didn't absolutely love it, even if they hadn't heard of the Band. . . .
Movie Review: At the crossroads
Summary: 5 Stars
Back in 70's, I was wandering around in life. I had been a child of the 60's, a boomer, raised on rock and roll and folk. Then I went in the Jehovah's Witness sect in my late teens and bottled up all the important things in a bad marriage and bad religion (Don't get me started!). I was trapped without a way out.One Friday night in the fall of 1978, I saw a movie marque that said "The Last Waltz: The Band". So I paid my money and let the 60's come over me again in a wave of nostalgia. The relief was palpable - I cried with emotion. I exulted with joy. Yes this is my life - not some foolish religious hoax. I was riding high and went back on Sunday afternoon to see it again. This time it was like a party with a full theatre of fellow 60's types yelling "Turn it Up!". The rest is history: left the JW's, got divorced and remarried, started made my life again and never looked back. Oh, I've owned this movie in VHS, Laserdisc and now DVD ever since.
I love the performances and learned to play along with each one, except Neil Diamond - are they kidding!!! (Turns out Robbie Robertson produced something for Mr. Shmaltz so we have to suffer through it.) The Band is in great form and so are all the visiting players. There are dozens of cool moments like Joni Mitchell signing high backup on Neil Young's "Restless"; all of the Bob Dylan pieces and the segue after "Baby Let Me Follow You Down" (where did he get that great cream hat?); the Staples Singers on "The Weight" (I feel conflicted over foxy gospel singers.); Muddy Waters who has one of the best groove's on the disk; Eric Clapton who re-tells Dylan's "Love Minus Zero"; and the ever lovely Emmylou Harris singing of my native Acadian ancestors.
After reading Levon Helm's "Wheels on Fire" I understand why Robbie Robertson gets all the spot lights - even when other Band members are singing the lead. Guess he and Marty Scorsese had this thing where Robbie thought he was the Band. Sad we don't get to see Richard Manual while he sings "I Shall Be Released", his signature song. Oh well, ego is nothing new to the music biz. That's a little anoyance but doesn't detract from one of the greatest video's of all time.
We had friends over for supper two weeks ago and found out they had been watching a vhs copy of this over and over for years. We spent the rest of the night in the TV room for another playing of "The Last Waltz". Too bad they didn't want to hear me play along on the Les Paul.
Yeah! Play it Loud.
Movie Review: If you were awake in the 60's, or even now, a "must have"
Summary: 5 Stars
This may come off sounding like a tribute to Bob Dylan, but it's not (or it could be). I didn't see Dylan perform until the 80's, but I was always aware of The Band. Having had a subscription to Rolling Stone from '67 until the early 70's, I was at least informed. I had even remembered how they came up with the name, The Band. Rolling Stone provided all kinds of trivia.
I did not follow The Band (Hawks) or Dylan in the early 60's. I was 10 when Dylan's 'Free Wheelin'" came out. (I think that was his first). But I do have a distinct memory of a friend of my brother bringing this album over (Dylan) with such excitement and insisting he listen to it pronto. I was right there waiting with such anticipation, the memory is branded in my brain. From the first words I heard come out of the new "stereo", I did not get it. At 10 I did not appreciate or like folk music. I had been forced to watch "Hootenanny" (sp?) and my brothers collection of Peter Paul and Mary, did not impress me. I love music but the only thing I had access to was AM radio. My parents had no collection of Billy Holiday or the such, but they did have old 78's of the singing Pioneers, I used to like those when they would bring them out. At 10, I was not ready for Dylan, he was not Mick Jagger or even The Beatles. It was only a few years later when FM radio was being used for "us" before I got it. It didn't take me long to discover Dylan was not a folk singer in the way Peter Paul and Mary was.
So, for me to see The Last Waltz (and never having heard any of the sound track) was such a delight. I have listened to Dylan for years (I recently purchased The Essential Bob Dylan and it's great, even if you have every album/CD, it's a great compilation of his works) with much respect and Van Morrison has become my favorite for many reasons. I do own The Best of the Band and knew all the songs, but the greatest tribute to The Last Waltz is that my husband got hooked and watched two thirds of it, saying, "I didn't know they did that song", too many times to mention before he went to bed. Now that is only worth mentioning because we have very differnt orintations to music. He graduated from University of Texas with a degree in fine arts and was used to doing and singing Broadway musicicals. He really was captivated by the performances, which is the biggest reason I rate this so high, other than the fact it deserves it.
Tujunga, CA