AVALIAÇÃO DA IMDb
7,9/10
5,2 mil
SUA AVALIAÇÃO
Um filme sobre o maior festival de rock pré-Woodstock.Um filme sobre o maior festival de rock pré-Woodstock.Um filme sobre o maior festival de rock pré-Woodstock.
- Prêmios
- 1 vitória e 2 indicações no total
Country Joe McDonald
- Performers
- (as Country Joe and The Fish)
Denny Doherty
- Performers
- (as Mamas and the Papas)
Cass Elliot
- Performers
- (as Mamas and the Papas)
The Mamas and the Papas
- Themselves
- (as Mamas and Papas)
John Phillips
- Performers
- (as Mamas and the Papas)
Michelle Phillips
- Performers
- (as Mamas and the Papas)
Frank Cook
- Performers
- (as Canned Heat)
Bob Hite
- Performers
- (as Canned Heat)
Henry Vestine
- Performers
- (as Canned Heat)
Alan Wilson
- Performers
- (as Canned Heat)
Art Garfunkel
- Performers
- (as Simon and Garfunkel)
Paul Simon
- Performers
- (as Simon and Garfunkel)
Avaliações em destaque
It's the legendary California music festival in June 1967. D. A. Pennebaker films the incredible iconic concert. There is great music. It is an important time capsule for popular music in general. Two of the most notorious performances are Jimi Hendrix burning his guitar and Joplin singing with Mama Cass watching in shock from the audience. One does learn a few things. I didn't think they had chairs but the metal chairs are all neatly lined up in their rows. This is more than a movie, a documentary, or a concert film. It is music history.
I've heard it commented that Monterey Pop is less of a `movie' than Woodstock because it doesn't really get to know the Audience as a character (through interviews, pointed observation, thru-stories, etc.). This is nothing more than old-fashioned critic snobbery. The distance is precisely the mystique of the film. Do we need to talk to the audience or to Janis Joplin, for example, after her performance? As an impressed Cass Elliot looks on, we see Joplin playfully skitter off the stage like a schoolgirl to embrace a friend after her victorious `Ball & Chain,' and we totally feel her sense of accomplishment and state of exhaustion after delivering such a powerhouse. Sometimes a picture speaks a thousand words.
Monterey Pop, in comparison to Woodstock, does indeed have a distant feel and, overall, lacks that film's spit & polish. But this is like comparing two different directing styles say Kubrick vs. Ford. Based on its own merits, this film is a fantastic, bare-bones look back at the state of (what was then!) underground music before drugs & death took their massive toll, before it all became `classic rock' commercialism, and before everyone (including myself) had a chance to pontificate on its merits ad nauseum. The distance afforded their subjects by the filmmakers adds to this experimental `street' allure and is actually very appropriate. Have you ever felt cheated by a band simply because they went commercial? How it just doesn't feel the same because what once seemed like a hip secret kept by a choice few had now gained Mass Audience Appeal? The jig was up. Alas, for those old days Monterey captures that spirit of an unbridled, non-compromised and spontaneous movement that has just the right touch of danger attached.
Even though Monterey Pop has a garage rock feel, it's not really about `garage rock' per se, which has its roots back to 50s. It's more about a time when rock really went through a kind of psychedelic overhaul that continues to influence today. Besides the psychedelia, however, rock went through a diverse artistic transition that begun to incorporate music from other countries, styles and mediums (You want diversity? Try Otis Redding and Ravi Shankar on the same bill!). Although the Beatles had already begun to incorporate this stuff, most had not by '67 and were just perfecting their own innovative sounds (Janis Joplin, for instance, did not bring in a full horn section until a couple of years later, and Big Brother remained very guitar-driven). The jazz of Hugh Mesekela, for instance, is a standout here. I don't see Woodstock as having such a wide scope.
On the other hand, comparisons made to Woodstock are valuable enhancements to this film's enjoyment, not necessarily the base of negative critique. One reviewer, for instance, pointed out the medium hairstyle length of most of the men here (most were so new to The Scene that they hadn't had enough time to grow it out yet. Crew cuts and horn-rimmed glasses also abound). Many of the bands also look surprisingly young & innocent when compared with their Woodstock performances only 2 years later (the results of hard living?). Hendrix at Woodstock, in particular, comes off as nearly sedate when compared to his historic appearance here. Such details are what make Monterey Pop a gorgeous document of this period.
Monterey Pop, in comparison to Woodstock, does indeed have a distant feel and, overall, lacks that film's spit & polish. But this is like comparing two different directing styles say Kubrick vs. Ford. Based on its own merits, this film is a fantastic, bare-bones look back at the state of (what was then!) underground music before drugs & death took their massive toll, before it all became `classic rock' commercialism, and before everyone (including myself) had a chance to pontificate on its merits ad nauseum. The distance afforded their subjects by the filmmakers adds to this experimental `street' allure and is actually very appropriate. Have you ever felt cheated by a band simply because they went commercial? How it just doesn't feel the same because what once seemed like a hip secret kept by a choice few had now gained Mass Audience Appeal? The jig was up. Alas, for those old days Monterey captures that spirit of an unbridled, non-compromised and spontaneous movement that has just the right touch of danger attached.
Even though Monterey Pop has a garage rock feel, it's not really about `garage rock' per se, which has its roots back to 50s. It's more about a time when rock really went through a kind of psychedelic overhaul that continues to influence today. Besides the psychedelia, however, rock went through a diverse artistic transition that begun to incorporate music from other countries, styles and mediums (You want diversity? Try Otis Redding and Ravi Shankar on the same bill!). Although the Beatles had already begun to incorporate this stuff, most had not by '67 and were just perfecting their own innovative sounds (Janis Joplin, for instance, did not bring in a full horn section until a couple of years later, and Big Brother remained very guitar-driven). The jazz of Hugh Mesekela, for instance, is a standout here. I don't see Woodstock as having such a wide scope.
On the other hand, comparisons made to Woodstock are valuable enhancements to this film's enjoyment, not necessarily the base of negative critique. One reviewer, for instance, pointed out the medium hairstyle length of most of the men here (most were so new to The Scene that they hadn't had enough time to grow it out yet. Crew cuts and horn-rimmed glasses also abound). Many of the bands also look surprisingly young & innocent when compared with their Woodstock performances only 2 years later (the results of hard living?). Hendrix at Woodstock, in particular, comes off as nearly sedate when compared to his historic appearance here. Such details are what make Monterey Pop a gorgeous document of this period.
10HSauer
This is a classic documentary of 60s rock, captured live before all the hype and hoopla of hippiedom sank most of these acts (and many others). The Monterey Pop Festival kicked off the Summer of Love and remains the prime event of that epoch. The film should be seen by anyone who claims a passing interest in "Woodstock" or "the 60s." I give it 10 stars.
I found this documentary on DVD at my local library.
I know all about the 1960s, I graduated from high school, I graduated from college, I completed my graduate studies, I got married, I started my career, I had my first child. She will be 49 later this year, 2018.
But I never went to any music festivals. So finding this film on DVD was a joy. It has a good mix of on-stage performances and views of the mostly young crowd away from the stage. While I didn't know any of them I recognize all of them. That is how we looked and behaved in the late 1960s.
Funny, when I was younger I avoided Janis Joplin, I just hated her singing style. But I saw a documentary on her, I became a fan of sorts. And here at roughly 25 minutes into the documentary she performs "Ball and Chain" which was a real show-stopper., showing her extremely wide range of talent. There is a memorable shot of Mama Cass Elliot in the crowd mouthing "WOW" when Janis' performance was over.
Anyway, good film that brings back good memories.
I know all about the 1960s, I graduated from high school, I graduated from college, I completed my graduate studies, I got married, I started my career, I had my first child. She will be 49 later this year, 2018.
But I never went to any music festivals. So finding this film on DVD was a joy. It has a good mix of on-stage performances and views of the mostly young crowd away from the stage. While I didn't know any of them I recognize all of them. That is how we looked and behaved in the late 1960s.
Funny, when I was younger I avoided Janis Joplin, I just hated her singing style. But I saw a documentary on her, I became a fan of sorts. And here at roughly 25 minutes into the documentary she performs "Ball and Chain" which was a real show-stopper., showing her extremely wide range of talent. There is a memorable shot of Mama Cass Elliot in the crowd mouthing "WOW" when Janis' performance was over.
Anyway, good film that brings back good memories.
I'm over 2020 and want to escape - so Monterey Pop was my choice tonight. No regrets. It acted as the perfect form of escapism and time machine back to the 1960s. You almost start to feel a bit high just watching. It captures the concert experience perfectly and this pivotal moment in time.
I would've happily enjoyed a longer film, with full sets. As it was, it seemed like a mini taster of the event, that just meandered around. Featured a bit too much sitar at the end.
My highlights were Mamas and Papas, The Who, Jimi Hendrix, Simon and Garfunkel.
And damn, 60s women were something else. So beautiful. In fact, all the people here seemed beautiful, happy and free-spirited. Just what my soul needed after a long day.
I would've happily enjoyed a longer film, with full sets. As it was, it seemed like a mini taster of the event, that just meandered around. Featured a bit too much sitar at the end.
My highlights were Mamas and Papas, The Who, Jimi Hendrix, Simon and Garfunkel.
And damn, 60s women were something else. So beautiful. In fact, all the people here seemed beautiful, happy and free-spirited. Just what my soul needed after a long day.
Você sabia?
- CuriosidadesAlthough they declined the invitation to perform because they had sworn off touring permanently, all four of The Beatles were on the festival's board of directors. George Harrison had helped recommend Ravi Shankar, and Paul McCartney had pushed for the organizers to sign Jimi Hendrix, who was unknown in the United States at the time.
- Erros de gravaçãoIn the opening credits, a hand-drawn title says "IN ORDER OF PEFORMANCE", misspelling the word "PERFORMANCE".
- Citações
Female Fan: I think its gonna be like Easter and Christmas and New Year's and your Birthday all together, you know! Hearing all the different bands, you know. It's just, like, I've heard a lot of them; but, all at the same time - it's going to be too much. I mean, the vibrations are just going to be floating everywhere!
- Versões alternativasThe 1997 video version includes as an appendix The Who's performance of "A Quick One While He's Away."
- ConexõesEdited into The Who: The Kids Are Alright (1979)
- Trilhas sonorasSan Francisco (Be Sure to Wear Flowers in Your Hair)
Written by John Phillips
Performed by Scott McKenzie
Studio version, played over film footage of pre-concert activity.
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- How long is Monterey Pop?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Monterrey Pop
- Locações de filme
- Monterey County Fairgrounds - 2004 Fairground Road, Monterey, Califórnia, EUA(location of the festival)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 1.524
- Fim de semana de estreia nos EUA e Canadá
- US$ 1.524
- 26 de ago. de 2001
- Tempo de duração1 hora 18 minutos
- Cor
- Mixagem de som
- 4-Track Stereo(original release)
- Mono(original release)
- Proporção
- 1.37 : 1
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