a-papke

This is a really interesting documentary about paranormal investigators who spend the night communing with ghosts. These guys got a lot of charisma and what they find might change your mind about whether it's possible to actually commune with the dead. The stories are really creepy. Whether you believe in spooks or not, this is an engaging hour.

Americans have never heard of Glastonbury. That may seem surprising to our British friends, but neither myself nor any fellow "Yank" I've ever spoken to had any idea of what it was. To all my fellow Americans out there, let me explain: It's the greatest kept secret in all of Britain. We don't know about it because there is no way for anyone to make any money telling Americans about it. The only way I can describe Glastonbury is "Woodstock, but cool...I mean really, really cool." I kept saying as I watched this film, I wish it were longer. First of all, as a rock film, it's better than any concert film you can name (even though we Americans only knew maybe 20% of the bands in the film). Better than Live Aid. Better than Live 8. Better than Knebworth. (Unfortunately, we can't see every performance in its entirety because there are so many of them.) And the fascination extends beyond the musical performances. It's a wonderful historical document, showing the evolution of British pop, from classic rock to punk to new wave to industrial to whatever they call today's music. Plus you get an look at the fashions and zeitgeist of each music. Hippy's to bikers to (what we Americans call) lot-scammers. Glostonbury shows nakedness, drugs, mud, music and chaos on a biblical scale, often times on the stage itself. It defies explanation. You can only see it to believe it. Woodstock happened only once. This goes on every summer, and the music doesn't suck. It's a crowning achievement for rock cinema and rock history. I've always wondered why the best rock comes from Britain. This film offers a clue. After the film was over, I walked out of the theater and wanted a hit of acid or a stiff drink. I wanted to smash a window and streak down the street. I wanted to light a fire, quit my job and join a rock band, renounce all my worldly possessions and grow out my hair. I wanted to stand up and cheer because this is a classic film. I didn't do any of those things, except the later, because I'm not a moron; but the film certainly conveys the liberating power of music and it's capacity to free the soul. I am so amazed that the Glastonbury festival even exists in this modern age of the puritanical War on Drugs. It couldn't exist in America. I'm glad it does exist, and I'm glad that this film exists because Bachanalia is no longer valued. It is seen as a threat, as a corruptive force rather than a liberating rite of passage. It is an experience everyone should have at least once in their life, and should the day come when the 'Forces that Be' close Glastonbury down, at least Temple's film will still be here to show future generations how wonderful life can be when lived with perfect unfettered collective freedom, (as Bowie says) "if just for one day."