The Band

Rock music at it's best. What a performance by Robbie and the band. They just don't make music like they used to nowadays. The energy and true musicianship that went into this concert was phenomenal. The guest artists that also played with the band really did bring the house down and with Martin Scorses's direction and great sound engineers this will undoubtedly go down in history as the greatest live rock/music video ever. I wish i had been around back in 76' for that concert man. Sad to see that Rick and Richard have passed away but glad that their talents have been captured on film for the world too see how good these guys were. Not only were the Band great musicians, but they were all great characters, real interesting guys with a genuine belief in what they were doing. Not like the sell-outs that the music industry now has in abundance.

This movie was only a name to me until I saw it last year. Immediately, I was riveted by everything about it. I've always been a casual fan of The Band, and of Levon Helm in particular. However, I'd never been bowled over by Bob Dylan, except as a songwriter, so much of The Band's work remained unknown to me as well. I wouldn't say I've become a rabid fan, but I am much more interested in their work, now.

It's a Scorsese film--how could it not be beautifully photographed, but Scorsese managed a difficult feat: he keeps himself out of the movie, except as interviewer during those sequences. This is not really Scorese's vision of a rock concert. It happened mostly organically, certainly with mistakes, gaffes and grit. This is part of its charm.

There are better singers than the guys in The Band, but few better musicians. This can be illustrated with Robbie Robertson in the Clapton song: Clapton's guitar strap comes off and Robertson, with one beat, picks right up on the solo. It looked planned, but wasn't. Joni Mitchell was notoriously hard to back up, due to her original guitar tuning, and ragged song phrasing, but bassist Rick Danko fills in every space with intricate bass figuring.

Perhaps we have become too accustomed to the overwrought, over-hyped, overproduced, overexposed, shiny gack that passes for popular music to appreciate the raw, the imperfect, the sheer humanness of this music. Scorsese shows it all. The guys in The Band were largely worn out and sometimes strung out in the interviews. They are tired, scrawny, empty-eyed from the excesses of the road. Rick Danko is hovering on the ragged edge, as his band is dissolved, and he says his goal is to "keep busy." Richard Manuel looks lost as he says "I just want to break even." These are two musicians who desperately needed the music, but who were murdered by the road. We see their bleak destinies in their eyes in this film.

It is bittersweet certainly, but also a moment in time, crystallized into something great by the music, the love of friends, the willingness of the director to simply stand back and allow the music to happen. It also reminds us what good music used to sound like and makes me wish could exist again.

Standouts include-- Rick Danko performing a soulful rendition of "It makes no difference".

Eric Clapton jamming with Robbie Robertson shows that Robbie is an excellent, and I believe, under rated guitarist.

"The night they drove old Dixie down" is another great performance with Levon belting it out.

Bob Dylan on "I shall be released" and "Forever young" are moving even though he is obviously renown for his song writing and not vocal abilities.

Muddy Waters, Ronny Hawkins, and Van Morrison also deliver the goods.

There is some gray material, however, for me, the diamonds outweigh the granite.

If you like blues, country rock, or electric folk there will be something for you in this film.

The interviews are interesting but, of course, it's the music that makes the movie.

I rented this for $3 at Blockbuster on DVD. It was worth more.

Either I'm getting older or the world's getting younger, but when a rock concert documentary film airs on TCM, there should be some sort of pause for a reality check. In a salute to WALTZ'S director Martin Scorsese, the film aired on TCM over the New Year's weekend. I hadn't seen it or thought about it in 25 years. And all I can say is that it hasn't lost any of its power. (And this from someone who's never been to a live rock concert.) The stars of the film- the all-purpose backup and touring band called 'The Band-' give a simple but enlightening insight to the mechanics of their 16 years on the road and how their Thanksgiving Day final concert in San Francisco turned into a revival-like celebration. Even though I grew up on jazz music more so than rock, I can fully appreciate The Band's intense, immense music background- influenced by everything from blues to country to folk music. As for the concert itself you have the likes of Neil Young, Ron Wood, Joni Mitchell, Van Morrison, Muddy Waters, and Dr. John (who gives a standout, honky-tonk performance of "Such A Night,") kickin' it on stage before it's all over. And if these live performances weren't enough, there are additional performances done on a sound stage with artists that weren't part of the live show woven into the 117-minute film: a fabulous folk/gospel jam session of the song "The Weight" teamed with the Staples Singers (lead by Mavis Staples, who sounds very Gladys Knight-like) and about thirty minutes later shifting gears into the lovely folk ballad "Evangeline," replete with fiddle, mandolin, and acoustic guitar from Emmylou Harris. Also cool is Muddy Waters bluesing on "Ain't that a Man," and the finale with all the artists of "I Shall Be Released." You just might be.

Martin Scorsese's documentary has been labelled a time capsule of an era, and whilst this type of reference usually sounds overstated, there is no doubting the accomplishment of this film as an event. Many use the documentary 'Woodstock: 3 Days of Peace and Music' as the ultimate example of a music-doco, but whilst the music in The Last Waltz is actually on par with the great performances of Woodstock (bar Jimi Hendrix[there's no substitute]), the thing which elevates The Last Waltz is the photography.

This was the first music doco to be shot on 35mm and watching the concert, you'd think that each performance was carefully choregraphed over a few weeks of shooting rather than over one night. Special thanks must be given to Cinematogrpaher Michael Chapman for his efforts on this film. The look of the film is what elevates it's overall appeal, because the music was always going to be epic, especially with the cavalcade of great names performing. This is just great filmmaking from contemporary cinema's most accomplished filmmaker. And how about that haunting theme that both starts and ends the film. Just great.