In 1983, the Talking Heads made a concert film. This film became a classic and the associated album may be the best live album ever (IMHO).
It's 40 years since the film was first released and it's back in cinemas in a new remastered version.
I've seen bits of it (I know about the Big Suit) but never the whole film, being too young at the first release and not fast or organised enough on its 30 year re-release.
But now, 40 years on, now I am doing this. I am in the cinema early on Sunday morning with 8 other intrepid souls to absorb this movie.
It starts with a shape. What is that shape? Is it light shining on something? Then there's a shadow, a man with a guitar. David Byrne emerges on stage with a guitar and a boom box. Except it's not a stage just yet, it's an unconstructed set.
"I have a tape I want to play," he says, and the backing track to Psycho Killer starts to play.
He thrums his acoustic guitar and draws us into the song while roadies are moving gear onto the stage in the background.
Then comes Tina Weymouth, the bass player, to join him for Heaven. The roadies continue to build the set, piece by piece, as more band members join for each song, until finally, several songs in, the backdrop curtain rises and we have a stage.
Everyone is in neutral colours except Chris Franz, the drummer, who is wearing a bright blue shirt. I wondered if this all-neutrals was a conscious decision to not distract from the music and performance. (A little internet searching reveals a laundry problem meant Franz' neutral shirts were not back in time.)
The filming of this show really puts you in the band. You are onstage, you are close up, you see the sweat, you see Franz tapping his drumsticks and counting the others in, you see the chips and scratches of David Byrne's guitar.
At the same time, the editing of the film makes the show very tight. There are no long pauses between songs for costume changes or instrument swaps. Things change as if by magic - where did David Byrne's jacket go? When did he unbutton his shirt?
The film shows a band at top of their game, the performance is tight, the songs are sharp on delivery. You sense everyone is enjoying this show, on stage as much as off.
And here's a thing, as much as you're aware there is an audience, they are largely invisible for most of the film. The band are the focus, and only at the end do you get some close up shots of the audience.
(Hey you, blonde guy standing at the balcony front. Why aren't you dancing?)
Although the band are a core of four, the extra five musicians complete the sound and seem to be fully integrated in the band, amplifying the sound to deliver something as good as the studio versions.
Unexpected bonus - Genius of Love by the Tom Tom Club, the Weymouth/Frantz offshoot of Talking Heads. This break gave an opportunity for Byrne to change into his Big Suit for Girlfriend is Better.
The Big Suit almost deserves its own place in the band as it has become iconic. Inspired by Japanese noh theatre, the idea being to make his head look smaller by making his body look bigger. "Music is very physical and often the body understands it before the head," Byrne said. Certainly watching this film my body was tapping and jerking about in my seat - I wanted to dance before I was even conscious I wanted to dance.
I was watching Weymouth particularly as I have a story idea for a character who plays bass in a band and Tina Weymouth would have been a strong influence on her.
But the camera remains mostly fixed in Byrne, with his strange dancing, his jerky movements as if he has been shot or hit or pulled by some invisible force, his intense dark eyes staring almost-at-the-camera-but-not-quite.
Photograph Jordan Cronenweth
The physicality of the show is extraordinary. The running, jumping, synchronised dancing as well as enthusiastic playing of instruments - everyone is drenched I sweat at the end. (Except Tina Weymouth, who somehow manages to look just as composed at the end as the beginning, although she was wearing a dress and not a shirt and trousers like the other band members).
The film felt as good as a show, maybe better, as you almost felt like you were one of the band, on stage, dancing with the singers, playing an instrument.
Stop Making Sense - recommended to see in a cinema with a big sound system. Sit close to the front.
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