Maestro

What I have to say about this film is that it takes on a rare feel. one that transcends those people that are not into hand helds or ambient lighting. This is a story of underground music. The first scene is almost hypnotic. It takes you through dark streets with a Voice over that haunts you. At the end of the road a thumping melody comes into play that of a song that I once heard in a club in my naughty years.

If you are expecting a narrated documentary TV style this film is not for you. It's raw and very artsy.

When I saw the film in Mass. I thought it was a great piece of work.

In fact it was an in-depth look at the underground like never before.

The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over is hypnotic, got goose bumps.

This doc explores the evolution of the club scene from its roots in the late 60's, to it's height with the Paradise Garage and Larry Levan in the seventies, then on to it's depths with the AIDS crisis in the 80's. It is a story that outlines the genus of a now global musical movement and is told by the people who created it, the dancers who witnessed it and the pioneers who survived to tell the tale.

From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is House 101", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.

The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.

I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.

I'm not sure what you were talking about D (aka little siddie) but the film had no techno music what so ever, not sure if you saw the same film.

the beauty of film C\ undaground

I can see someone expecting a movie to have more frills. But, I liked the candor, incidental humor, and information the flick provided. True, the movie makes more of itself then it is, but then, what DJ doesn't? It kind of fits together. And in spite of the aggrandizement, comes off as endearing. The styles the subjects wear are worth something just by themselves. If you really want a movie that follows the rules of great movie making, this might not be for you. But if you can put worth on hanging out in a reliably hip neighborhood, and meeting the denizens, without the drawbacks of having to meet them, I think you will be glad you gave this film a chance. Levine himself has an interesting story, worth hearing.

Knockout! I really enjoyed this film. I confess; I actually dropped a tear. It was not only moving with the music but more so with the direct voices of the people being interviewed. Feeling some of the top-superstar-getting paid (!) DJS profess there intimate moments with the ones that inspired them to be where they are today is not only genius on the part of the director but so on point with his creativity. The juxtaposition of the archive footage to the music to the silence to the roar of the sub-woofer peeling the cinema walls in shreds will take us all their. This is not a techno film nor does it have techno music in it; but it takes on the inspirations that made most t=fo the techno DJs/producers. Got it.

I really liked this film. It's definitely worth the money to see. No film is for everyone but this one is for many.

Matthew Star

When I saw the film in Mass. I thought it was a great piece of work.

In fact it was an in-depth look at the underground like never before. The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over; it's hypnotic.

From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is dance music culture", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.

The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.

I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.

the beauty of film Phil undagroundArchives