Celebration at Big Sur

The Esalen Institute where this concert took place began as a comparative religion institute in 1962 and still exists today attracting musicians, artists, filmmakers, authors, philosophers and other notables conducting seminars and symposiums. In 1969 it hosted it's 6th annual music festival which is the subject of this film. In the 60's such performers as Simon & Garfunkel, Arlo Guthrie, Ravi Shankar, Judy Collins, Creedence Clearwater Revival, Grace Slick, James Cotton and even a 19 year old Bruce Springsteen played at various festivals. None of the afore mentioned are in this film. Many luminaries visited the institute in the 60's including Ansel Adams, Aldous Huxley, The Grateful Dead, George Harrison, Ringo Starr and Hunter Thompson. As the 60's drew to a close filmmakers Baird Bryant and Johanna Demetrakas decided to capture on film the 6th annual concert at Big Sur. Bryant had five cameras to film the event including himself, Bill Kaplan, Gary Weis, Peter Smokler and Joan Churchill. About 12,000 people attended the two day event so this is a vastly scaled back outdoor concert from Woodstock that had happened only one month before. Crosby, Stills, Nash along with Neil Young who had joined CSN in their debut as a foursome at Woodstock are the featured act still working on their play list. Joan Baez who in her late teens lived at the Esalen Institute is a performer here as well as her sister Mimi Farina. Joni Mitchell, John Sebastian and Dorothy Morrison of the Edwin Hawkins Singers are the other nationally known acts on the bill. Other performers include Texas folk singer Carol Ann Cisneros and the other acts rounding out the bill are The Struggle Mountain Resistance Band, The combs sisters and Julioe Payne. The Flying Burrito Brothers and The Incredible String Band also performed at the festival but are not in the film. in an unconventional stage setting for an outdoor 60's concert the performers play on the pool deck in front of a large swimming pool that separates them from the audience. This is a low budget film that tries hard to be a combination documentary, concert film and art film but mostly fails in all three. It is a good snapshot of 60's love and peace through music however. I would give this a 6.5 out of 10.

If hippies were all about peace and love why did Stills try to whip ass and take names? Amateur camera work and some really bad acts couldn't take away from the coolness of this documentary. I never heard of several of the performers and never cared 2 cents for Baez or Mitchell, but CSN&Y were worth the price of admission. Nice look at the good old days; glad I wasn't there - what a crowd scene. A better film in this genre was '67's Monterrey Pop Festival.

This movie to me was an eye opener. It bares all. Sure Steve Stills was an established name in music by this time, but he is human too. The camera kept on rolling showed it. There are things in my life caught on camera I wish never happened too.

Personally, I love was the magical white guitar Still was playing. It had this vague image of a bird on the pick guard. The sound it was making was so different! The musics: What a gathering of folk rockers. It showed what they did off stage too. Crosby group chanting in a swimming pool. Stills guitar playing by a campfire, and stars going through a cafeteria line.

This movie is a glimpse in the lives of musicians in the brief time before the mass produced concerts of today. It catches the earthy feel of that time. Music was the event, not showmanship. Folkie, rockers, and gospel singers all playing separately and together. I recommend it to any music lover.

Rich, NW Louisiana

I caught this film late night many years ago. I've seen it a couple times since. Their is more than one edit I assume because the hot tub scene was cut in one version I saw. The musical performances vary from spotty to captivating. Jonathon Sebastion's description of his "trip" to the Dead ranch is funny, revealing, and at points a bit incoherent. Stills throws a hissy fit that exposes his more self-indulgent persona, and Joni Mitchell's performance of her at-the-time brand new tune Woodstock (more famous in the CSNY version) makes the whole film worth a watch. My only question is where's the DVD of this unique psychedelic snapshot?

The music isn't exactly my bag, but there's no denying the historical interest of this low budget film about a low budget festival that took place in 1969 at the Esalen Institute, one of the premier psychobabble headquarters of the day. If you enjoy footage of folks flying their freak flag high, this is for you. Fans of folk music will be in heaven, but others will find the sounds pretty thin gruel--and sometimes, especially in the case of Joni Mitchell's caterwauling, the musical equivalent of a high colonic. Neil Young looks and sounds cool, especially on an organ-heavy number early in the film, and the Edwin Hawkins Singers are excellent. The film has a grittiness that sets it apart from Woodstock, and the small nature of the crowd--and the fact that the 'stage' is one side of a swimming pool--make this a valuable record of what seems to have been a genuine communal experience.