IMDb-BEWERTUNG
8,0/10
4060
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuInterviews, TV clips and concert footage make up this comprehensive profile of The Who, Britain's premiere rock band.Interviews, TV clips and concert footage make up this comprehensive profile of The Who, Britain's premiere rock band.Interviews, TV clips and concert footage make up this comprehensive profile of The Who, Britain's premiere rock band.
Tom Smothers
- Self
- (as Tommy Smothers)
Melvyn Bragg
- Self
- (as Melvin Bragg)
Keith Richards
- Self
- (as Keith Richard)
Garry McDonald
- Norman Gunston
- (as Norman Gunsten)
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Well, I've been sat here for the last five minutes thinking what I could write about the Greatest Rock 'n Roll band in the World, or more to the point, one of the best Rock Documentaries to come out of the 1970's.
Seeing The Who live only four time's since 13th July 1985 to November 10th 2000. The original line up would have been great, but time and history say different.
This is where Jeff Stein has a wonderful idea (the film was being made when Keith was still very much alive, but as reference to today's generation) if you can no longer go to the mountain, then he has brought it to you, enter stage right, The Kids are Alright, 109 minutes of pure Rock 'n Roll documented history.
The film start's of with some fantastic black and white footage (the early gigs must have been out of this world) of one of the hardest working bands to come out of the Sixties and to continue to World domination, a cliché I know, but it works.
Interviewing them must have been a night where you earned your money, poor Russell Harty, (in case of Keith Moon break the glass).
The 1970's tracks see them develop into a real tight outfit, if not a "little older" , performing most of their classics without fault. Jeff Stein has done a great job of bringing together this visually collective musical collage to a wider audience. I say lets turn the record over and begin side "B"...
Thanks Jeff.
Seeing The Who live only four time's since 13th July 1985 to November 10th 2000. The original line up would have been great, but time and history say different.
This is where Jeff Stein has a wonderful idea (the film was being made when Keith was still very much alive, but as reference to today's generation) if you can no longer go to the mountain, then he has brought it to you, enter stage right, The Kids are Alright, 109 minutes of pure Rock 'n Roll documented history.
The film start's of with some fantastic black and white footage (the early gigs must have been out of this world) of one of the hardest working bands to come out of the Sixties and to continue to World domination, a cliché I know, but it works.
Interviewing them must have been a night where you earned your money, poor Russell Harty, (in case of Keith Moon break the glass).
The 1970's tracks see them develop into a real tight outfit, if not a "little older" , performing most of their classics without fault. Jeff Stein has done a great job of bringing together this visually collective musical collage to a wider audience. I say lets turn the record over and begin side "B"...
Thanks Jeff.
In some ways this is best the movie ever. Errrm... make that one way. Let me put it this way. If you're as big a fan of The Who as I am, The Kids Are Alright is as alright as movies get. Director Jeff Stein was probably an even bigger Who-fan than yours truly, and you get that vibe from every aspect of the movie: the chosen footage, the editing and the chosen narrative (or lack thereof) chosen. TKAA is a documentary, but unlike documentary-makers fashionable today Stein didn't set out to make his points in a Michael Moore-ish style, with himself as the narrating voice-over and on-screen interviewer. Stein lets the footage speak for itself, only slightly suggesting conclusions that can be made through editing, and only once serving as an off-screen interviewer.
If there is one point Stein tries to make, it is that the Who were the most interesting/wild/intelligent/contradictory/refined/loony/crude Rock 'n' Roll band in the world. And therefore the most fascinating. He didn't have to turn to the viewer and say that in person: the Who themselves are their own best spokespeople. The Kids Are Alright isn't ABOUT the Who, it IS the Who. The a-chronological editing, live as well as mimed performances and contradictory quotes spanning two decades make a rich collage of fifteen years of Rock 'n' Roll mayhem.
Editing was Stein's weapon of choice to make TKAA a double-edged sword. People can try to find a deeper meaning in the director's decisions and/or draw their own conclusions. Or you can just kick back and relax and let it be the ultimate party-DVD. Watching this movie, you really get the sensation of hanging with the Who, addiction, hearing problems, impromptu strip sessions and all. And with Roger Daltrey, John Entwistle, Keith Moon and Pete Townshend around, there's never a dull moment.
If there is one point Stein tries to make, it is that the Who were the most interesting/wild/intelligent/contradictory/refined/loony/crude Rock 'n' Roll band in the world. And therefore the most fascinating. He didn't have to turn to the viewer and say that in person: the Who themselves are their own best spokespeople. The Kids Are Alright isn't ABOUT the Who, it IS the Who. The a-chronological editing, live as well as mimed performances and contradictory quotes spanning two decades make a rich collage of fifteen years of Rock 'n' Roll mayhem.
Editing was Stein's weapon of choice to make TKAA a double-edged sword. People can try to find a deeper meaning in the director's decisions and/or draw their own conclusions. Or you can just kick back and relax and let it be the ultimate party-DVD. Watching this movie, you really get the sensation of hanging with the Who, addiction, hearing problems, impromptu strip sessions and all. And with Roger Daltrey, John Entwistle, Keith Moon and Pete Townshend around, there's never a dull moment.
Only recently did I acquire an appreciation for The Who. After seeing this film, they've moved from the bottom of my list to nearly the top. It gives an amazing look into the group almost solely through the use of concert footage. There are a few cuts of interviews and humorous stuff with Ringo Starr, but they don't compare with the concerts.
It also gave me a new perspective beyond The Who and into the world of the modern music world and INDUSTRY. Most people have seen Trent Reznor and Kurt Cobain destroying their equipment at Woodstock and on Mtv, but have they seen The Who do it on the Smother's Brothers Show? THAT is insane!!! That was 35+ years ago...
Where is modern pop-music going? That's what I ask after this film. What is being done today that hasn't been done before? The answer is pretty close to nothing. Except a lot more money is being made...big deal.
10 out of 10... Easily as good as "Don't Look Back" and the Bob Marley docs I've seen. Just as inspiring.
It also gave me a new perspective beyond The Who and into the world of the modern music world and INDUSTRY. Most people have seen Trent Reznor and Kurt Cobain destroying their equipment at Woodstock and on Mtv, but have they seen The Who do it on the Smother's Brothers Show? THAT is insane!!! That was 35+ years ago...
Where is modern pop-music going? That's what I ask after this film. What is being done today that hasn't been done before? The answer is pretty close to nothing. Except a lot more money is being made...big deal.
10 out of 10... Easily as good as "Don't Look Back" and the Bob Marley docs I've seen. Just as inspiring.
This film came out shortly after Who drummer Keith Moon's death and as such, is a hybrid between a tribute to his work with the band and what it was probably originally intended to be, a collection of performances and material showcasing their development through their first quarter-century.
There are some great live performances here: including a smashing live version of the extended Won't Get Fooled Again', stuff from the sixties' German pop show Beat Club, and many more. There are interviews (including the famous one with Russell Harty from the mid-seventies), and other bits and pieces put together. This was always the definitive line-up of the band, when their songs had spirit and their performances were technically accomplished with a touch of humour.
There are some great live performances here: including a smashing live version of the extended Won't Get Fooled Again', stuff from the sixties' German pop show Beat Club, and many more. There are interviews (including the famous one with Russell Harty from the mid-seventies), and other bits and pieces put together. This was always the definitive line-up of the band, when their songs had spirit and their performances were technically accomplished with a touch of humour.
The object of any great concert film is to convince you, at least for the span of the movie, that the subject is The Greatest Rock Band in the World. If The Kids Are Alright doesn't succeed in that goal as completely as Jonathan Demme's sensational Stop Making Sense, that's hardly the fault of The Who-- few performers have labored harder in the name of fan service.
Though engaging and highly watchable, The Kids Are Alright stays a minor affair, documentary-wise. Here and there it flirts with insight. We catch a bit of Keith Moon palling around with fellow alcoholic Ringo Starr ("We're just taking our medicine, children!") in a bit that foreshadows tragedy without actually catching the weight of it. We get a laugh from Pete Townshend's startled "Eh?" at being confronted with his own lyrics ("...hope I die before I get old..."). But the between-music bits of the film offer little substance; they're just filler.
But there's an early clip of the band performing in a club, in which we cut to Moon, drumming his heart out, already in hyperdrive-- and then, impossibly, he starts going faster. His face is upturned in spiritual abandon, his hands simply disappear. And, in a phenomenal rendering of Baba O'Reilly, you see Townshend dancing in genuine and infectious ecstasy over John Entwhistle's thunderous bass line. And in an epic performance of Won't Get Fooled Again, we finally understand the sheer force of The Who-- the lights go out around six minutes in for the synth solo. Then the drums kick in, gathering our heartbeats with it. The lights come on: Roger Daltrey is screaming, and Townshend is in midair, and we are with him, transported, levitating.
These were men who enjoyed their work. And for these five-to-ten minute stretches, we are watching The Greatest Rock Band in the World. Worth the price of admission.
Though engaging and highly watchable, The Kids Are Alright stays a minor affair, documentary-wise. Here and there it flirts with insight. We catch a bit of Keith Moon palling around with fellow alcoholic Ringo Starr ("We're just taking our medicine, children!") in a bit that foreshadows tragedy without actually catching the weight of it. We get a laugh from Pete Townshend's startled "Eh?" at being confronted with his own lyrics ("...hope I die before I get old..."). But the between-music bits of the film offer little substance; they're just filler.
But there's an early clip of the band performing in a club, in which we cut to Moon, drumming his heart out, already in hyperdrive-- and then, impossibly, he starts going faster. His face is upturned in spiritual abandon, his hands simply disappear. And, in a phenomenal rendering of Baba O'Reilly, you see Townshend dancing in genuine and infectious ecstasy over John Entwhistle's thunderous bass line. And in an epic performance of Won't Get Fooled Again, we finally understand the sheer force of The Who-- the lights go out around six minutes in for the synth solo. Then the drums kick in, gathering our heartbeats with it. The lights come on: Roger Daltrey is screaming, and Townshend is in midair, and we are with him, transported, levitating.
These were men who enjoyed their work. And for these five-to-ten minute stretches, we are watching The Greatest Rock Band in the World. Worth the price of admission.
Wusstest du schon
- WissenswertesIn addition to compiling rare clips, Jeff Stein arranged for The Who to film a concert for invited fans. The show, performed at Shepperton Film Studios in London on 25 May 1978, turned out to be Keith Moon's last concert with The Who before his death on 7 September at the age of 32.
- PatzerRick Danko of The Band is listed in the end credits as appearing in the film, even though his segment was deleted from the final print.
- Zitate
Roger Daltrey: My main ambition now is to get back on the road with the horrible Who. The worst Rock-n-Roll group in the world.
Interviewer: [off] The worst?
Roger Daltrey: Yes! You couldn't pick more - four more horrible geezers that make more - I mean, make the worst noise that you've ever heard in your life!
- Crazy CreditsVarious clips of stage goodbyes from live appearances of The Who through the years are shown during the closing credits.
- Alternative VersionenThe version of the film that appears on Turner Classic Movies features The Who's Rock N' Roll Circus performance window-boxed and surrounded by flashing marquee lights in the manner of the film's original theatrical presentation.
- VerbindungenEdited from Monterey Pop (1968)
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprache
- Auch bekannt als
- The Kids Are Alright
- Drehorte
- Ramport Studios, Battersea, London, England, Vereinigtes Königreich("Who Are You" video)
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 2.000.000 $ (geschätzt)
- Laufzeit
- 1 Std. 49 Min.(109 min)
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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