Monterey Pop is a 1968 concert film by D. A. Pennebaker documenting the 1967 Monterey Pop Festival. Among several Pennebaker camera operators are fellow documentaries Richard Leacock and Albert Maysles. The painter Brice Marden has a "camera assistant" credit, and Bob Neuwirth, who stands out in the documentary Bob Dylan Pennebaker Dont Look Back , acts as stage manager. The title for the film is by illustrator Tomi Ungerer. Major actors include Big Brother and Holding Company with Janis Joplin, Jefferson Airplane, Hugh Masekela, Otis Redding, Ravi Shankar, Mamas & amp; Papas, Who and the Jimi Hendrix Experience, whose namesake burned his guitar, broke it onstage, and threw his guitar neck into the crowd at the end of "Wild Thing".
Video Monterey Pop
Performers and songs
Songs featured in the movie, in order of appearance:
- Scott McKenzieÃ, - "San Francisco (Make sure you wear flowers in your hair)" *
- Mamas & amp; PapasÃ, - "Creeque Alley" * and "California Dreamin '"
- Heat Canned - "Rollin 'and Tumblin'"
- Simon & amp; GarfunkelÃ, - "The 59th Street Bridge Song (Feelin 'Groovy)"
- Hugh MasekelaÃ, - "Bajabula Bonke (The Healing Song)"
- Jefferson AirplaneÃ, - "High Flyin 'Bird" and "Today"
- Big Brother and Holding Company - "Balls and Chains"
- Eric Burdon & amp; The AnimalsÃ, - "Paint It Black"
- The WhoÃ, - "My Generation"
- Joe and Fish Country - "Section 43"
- Otis ReddingÃ, - "Shake" and "I've Been Loving You Too Long"
- Jimi Hendrix's Experience - "Wild Thing"
- Mamas & amp; Papasé, - "Got to Feel"
- Ravi ShankarÃ, - "Dhun" ("Dadra and Fast Teental") (titled "Raga Bhimpalasi")
* = Studio version, playing on top of pre-concert movie show footage.
The sequence of performances in the film was rearranged from the order of appearances at the festival. In addition, many artists who appear at the festival was not included in the original piece of the film.
Maps Monterey Pop
Production
American Broadcasting Company put up a $ 200,000 advance to make a movie about ABC Movie of the Week new movie. However, Monterey Pop never aired on ABC, a decision made by Thomas W. Moore, the ABC chief at the time and, according to Lou Adler, "a very conservative Southern man." "We showed him Jimi Hendrix a recreation with his amp and we said, 'What do you think?' "Adler recalls. "And he said, 'Save the money and get out.' He said, 'Not on my network.' "
Monterey Pop was shot in a 16mm film blown up to 35mm for theatrical release. Director D. A. Pennebaker said he recorded audio on a professional reel-to-reel 8-channel recorder borrowed from Beach Boys. Theatrical movies are released using a four-channel soundtrack that includes two to three minutes of incomplete surround sound. Dolby noise reduction was added in 1978 when the new print of the film was hit.
After the original production company, Leacock-Pennebaker, was dissolved in 1970, Pennebaker Associates acquired the rights to the film.
Home videos
When Sony Video released Monterey Pop on videotapes in 1986, Pennebaker created three one inch master ribbons that were beaten from the 16mm negative that he "wet", a process whereby sponges eliminate particles and also put the chemical fast dry on film that fills the scratches. In digital remixes for video, Pennebaker removes surround tracks from theatrical releases and combines the middle-to-left and right stereo channels. No Dolby is used, though Sony's initial video release inadvertently says otherwise on its packaging. In 2002 Monterey Pop was released on DVD as part of the set Criteria Collection box, Complete Monterey Pop Festival , which also included short film Pennebaker Jimi Playing Monterey (1986) and Shake! Otis in Monterey (1986), as well as two hours of overtaking performances, including some by bands not seen in the original film. The box set was re-released in 2009 on Blu-ray. For this edition, the remix soundtrack in 5.1 Surround Sound by Eddie Kramer.
Influence
Rock critic Robert Christgau considers Monterey Pop the best of a 1960s concert documentary, saying, "[T] he's music and... his circle is such a beautiful secret - beautiful because even though everyone knows about it , it still delivers the sensation of discovery.Updated in 1968, Pennebaker's vision of the 1967 event was instrumental in convincing potential organizers and participants that music was the healthiest way to crystallize the energy of a seemingly incontrovertible and dangerous counter-rival.
French New Wave director Jean-Luc Godard was so taken with the appearance of Jefferson Airplane at Monterey Pop that in 1968 he set out to make an unfinished film titled One AM (for "One American Movie") in collaboration with Pennebaker and Leacock. Godard shoots the Aircraft sequence, (including in 2004 Fly Jefferson Airplane DVD), playing at noon on a weekday on the rooftop of a New York hotel across the street from Leacock-Pennebaker office, with the Rockefeller Center tower in the background back. Attracted by the very high volume of music, the police arrived and ended the shooting.
National Monterey Pop screenings in theaters nationwide help raise the festival to mythic status, quickly swell the number of festival-looking audiences looking for the next festival, and inspire new entrepreneurs to roll out more and more. they are all over the country.
In 1969, Michael Lang and Artie Kornfeld proposed the idea for a recording studio in Woodstock, New York for businessmen John P. Roberts and Joel Rosenman. In the documentary film Woodstock: Now and Then, Rosenman said the proposal suggested that the studio would encourage an occasional rock concert in the city. Rosenman had watched the Monterey Pop one day before a meeting with Lang and Kornfeld and, impressed by the movie, agreed, with Roberts, to finance Lang and Kornfeld in an effort that turned into the 1969 Woodstock Festival.
References
External links
- Monterey Pop on IMDb
- Pennebaker Hegedus Films
- PH Movies Facebook
- Official Monterey Pop Trailer on YouTube
- Criteria Collection page for movies, with extensive essays
- Monterey Pop (35mm and Russian slit-scan) at bcx.org
Source of the article : Wikipedia
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