U2: Rattle and Hum

"U2 Rattle & Hum" is one of the best rock documentaries ever produced because it not only showcases a band at work on stage and in the studio at the peak of their success, but also because it shares with us a rock group in the middle of a discovery. That discovery is U2's first wide-scale American tour, in which they start to explore American "roots" music, namely Elvis Presley and B.B. King, among unmentioned others. Aside from the blistering live performances in Denver, San Francisco and Phoenix, the band makes 'holy pilgrimages' to Graceland, Sun Studios and a Harlem church.

U2 were criticized for supposedly saddling themselves up against American musical icons (B.B. King collaborates with them on a tune, they record 5 tracks at Sun Studios, and haggle a Graceland tour guide into letting them photograph one of Elvis' motorcycles), but once the mechanics of the band's relationship are understood, it's obviously clear they are only peeking into this world in an introverted manner instead of trying to include themselves in it. U2 have always been a band with sharp detractors because they place an importance upon music to suggest that it can BE more than just music. This attitude has enabled them to arguably remain the most consistent and important band of the last 20 years.

The live performances are just amazing. "Exit," Bad," "Pride," "Bullet The Blue Sky," and "Sunday Bloody Sunday" are delivered with ferocious energy. The film is mostly in black-and-white, which lends itself that needed 'documentary' feel, except for 5 songs performed in color. The energy of the band onstage guarantees this to be a film that will sustain its liveliness no matter how many times you see it.

A must see for any U2 fan, which I am. From a filmmaking standpoint, the stark black and white photography provides an appropriately timeless quality. It's a concert film on an epic scope, and Bono and Co. are our great heroes. Might seem a little pretentious to some, but when you're U2 you have a right to a little egomania.

This movie delivers U2 doing what they do best (touring), experimenting with new types of music in America and showing us that they're truly the nice guys they're projected to be. I see nothing disappointing about charismatic interviews, solid musical performances and meaningful reflection. Those who disliked this departure from the band's "usual" style can't recognize the importance of musical growth we see here. Looking back to what The Joshua Tree was and what became Achtung Baby, it's easy to see Rattle and Hum was a necessary expression of their progress at that time, and a humble look at a band celebrating their artistic heroes.

Tens of thousands of feet of film were shot during the making of 'U2: Rattle and hum', Most of it in black and white. Some of this was intentional, but allot of it was due to the fact that director Phil Joanou had a limited budget to work with and black and white film at least at that time was less expensive. Shooting in 16mm as well as 35mm was another reason that this film was shot almost entirely in black and white. About 90% of the footage was done in that format rather than color. From Watching the final cut of the film it would seem to suggest that it was more like 80% of the over all footage, but keep in mind there was allot more black and white footage cut from the film than color. I obtained a great amount of the footage that was never seen in the original version of 'U2: rattle and hum', 480 minutes of it to be exact. When I first saw 'U2: rattle and hum'

In 1988, I was fortunate enough to see it at a 'century theater' complex in San Jose Ca. On the biggest screen they had out of the 2 blocks of 'century theaters' lining one side of Winchester blvd. There in San Jose. They even had a special concert PA system temporarily installed for this special feature. It was truly the best way to see this movie, and the experience has stuck with me ever since. For many years I have felt that this movie could very well be the best film about a band ever made. Maybe even possibly the best music related film ever made with the exception of 'Woodstock' or perhaps 'The last waltz'. The movie has at times a real gritty look to it due to the 16mm footage. It feels earthy, grounded, cultural, important. Especially the portion of the film where U2 put on the 'Free the yuppies' concert at the 'embarcadero center' in San Francisco. This was the portion of the film where the band performs 'All along the watch tower'.

This concert was monumental (no pun intended) for the history of music in many ways. For one this concert was announced 2 hours prior to the performance over San Francisco's 'Live 105' fm alternative station. The concert was not scheduled prior to the two hour announcement. Bono, the edge, larry mullen jr., adam clayton as well as their management decided to put the show on the day before it actually took place. I was living in San Jose at the time and heard the announcement on the radio that day. I didn't have to work that day so I could have easily made it but a problem came up and to my bitter disappointment I was unable to attend the show. The entire show is truly wonderful (I have the entire performance on video). The monumental thing about this performance was of course the point in which Bono paints the Monument erected many years before in the embarcadero square by a french artistic designer.

The now infamous "rock and roll stops the traffic" slogan that bono spray painted on the monument is one of the greatest moments in music history. What most don't know is that bono never left the stage during all along the watch tower, the monument was painted during another song. which one was it? Well you'll have to find out for your self, I'm not telling. I went to see the monument the next day late at night. A friend and I climbed the thing to see the painted area. It was already painted over but you could see where it had been painted from the color shades being off a bit. I did make it to the performance at Oakland Stadium the next day. This was of course the 'Joshua tree' tour. Bono managed to find the french artist who created the monument that bono had spray painted just the day before. After a short 'wave hello' the artist proclaimed "U2 can spray paint anything I create any time they want!". This was in retaliation to the mayor of San Francisco who banned U2 from returning to San Francisco for the deed. Later the ban was lifted. But now back to the footage cut from the final film released through 'Paramount pictures'.

It is anybody's geuss as to why some of the best footage was cut from the film. Most notably 'the voices of freedom' performance at 'madison square garden'-performing 'still haven't found what I'm looking for' with the band. It is truly touching and would have been 'hands down' the best part of the entire movie had it made the final cut. directly after the group of church singers leave the stage U2 kicks into a rare live performance of 'Spanish eyes'. It is really a shame that these performances were left out of the fianl cut. I have 40 minutes of footage of U2 on their van ride to the church where they were to first meet the 'voices of freedom' as well as 40 minutes of footage after they arrive at the church. Also the entire graceland tour was filmed which I also have. I can understand why joanou left most of this out, it can be rather dull to watch, but it was interesting to hear allot of U2's questions and comments as they went along the tour. Hours of other precious moments are also seen in the deleted footage. 'U2: rattle and hum' is a true classic music film, but if phil joanou and U2 wanted to share those precious moments with the rest of the world they might think about releasing the entire thing in a directors cut. I had to pay allot of moola for the footage I have, and I mean allot!, all 480 minutes of it. Having seen it for myself in my opinion it is a crime to hide this footage from the public. U2: 'rattle and hum' is a great movie, a complete directors cut would make it a landmark in the history of the cinema.

I knew little about U2 in the 80s. I was still a pre-teen, and I was probably listening to what my parents put on like Michael Jackson, Joe Cocker, John Denver, Janis Joplin, and Willie Nelson. However, little by little, I grew to be a fan of theirs, probably especially after I first heard the song "Bad" on the radio as my parents drove me to college for my first year.

I bought the DVD of this on a total whim and was greatly rewarded. The opening sequence with "Helter Skelter" establishes a somewhat otherworldly yet gritty intensity for the b&w sequences. I agree that the film doesn't do a good job of getting at the personalities of the singers, and besides these guys are so used to the camera that they'd be able to manipulate the coverage anyway.

What Phil Joanou does get wonderfully is the passion for the music in these guys and how they inspire others: those moments when they stop and listen to the Harlem blues man singing "Freedom for My People" or the Gospel choir that takes flight with "Haven't Found what I'm Looking For" are something pure with a hint of magic. This is also well-played in the GORGEOUS transition to color in the Super Bowl-size stadium for "Streets Have No Name." You'd think Jesus himself was about to come on stage.

My only qualm: the music and lyrics themselves have enough social meaning of their own. Bono really doesn't need to interject much more on stage. Their performance of Bullet the Blue Sky gets at the social points with greater force, "Pelting the women and children/Pelting the women and children," than Bono's well-intentioned commentary. I give it four stars though because it hits all the right notes. PHIL, WHY HAVEN'T YOU DONE ANYTHING LIKE THIS IN YEARS?