The Last Waltz

1978's THE LAST WALTZ, a record of The Band's farewell concert at the Winterland Ballroom in San Francisco on Thanksgiving Day, 1976 is roundly praised as the gold standard of concert film documentaries, and with master filmmaker and avowed music devotee Martin Scorsese behind the wheel, one should expect nothing less.  My first exposure was to an oft repeated clip of "The Night They Drove Old Dixie Down" on MTV back in the early '80s.  At that time The Band for me was a curiosity; local rock stations only played "The Weight" and "Up on Cripple Creek".  I would finally watch the entire movie about a decade later and enjoy revisits every so often, always discerning something different.

This most recent viewing, I noticed that guest artist Neil Young was actually smiling.  Like, the entire time.  Truly enjoying sharing the stage with Robbie Robertson, Rick Danko, Levon Helm, Garth Hudson, and Richard Manuel.  Joni Mitchell never really cracks one, yet in her own fashion seems to be pleased to be part of something so historic.  This was The Band's adieu to life on the road after sixteen years, and each member gives his take on the rigors of touring in interviews shot subsequent to the show.  To me they were just right, just enough.  Some fascinating tidbits, nothing long winded, as these things sometimes get in music docs.  Maybe we can thank editors Jan Roblee and Yeu-Bun Yee.  Robertson does get the lion's share of exposure here but Helm and the others contribute nicely.  Danko brings Scorsese into a recording studio and discusses his upcoming solo album.

Some of the other musicians who joined the party: Eric Clapton, Dr. John, Muddy Waters, Bob Dylan, Van Morrison, Ringo Starr, and even Neil Diamond.  Inspired performances from each. Ronnie Hawkins' cover of "Who Do You Love" chooses a memorably slower tempo than George Thorogood's, whose version I heard a million times on AOR radio back in the day.  All the musicians come together for " I Shall Be Released".   Explosive stuff.  Scorsese, who previously worked on WOODSTOCK and other concert films, and DP Michael Chapman (other cinematographers credited include Laszlo Kovacs and Vilmos Zsigmond) expertly capture the big and small moments, the latter always fun to see as musicians cue each other and acknowledge the satisfaction of laying down some sweet grooves.  The whole affair is bittersweet, yet never less than a gas. 

Not shown is the serving of Thanksgiving dinner to concertgoers before the show.  That would've been cool.

Scorsese also includes a few post concert studio shot numbers with The Staples, lending some welcome soul to "The Weight", and Emmylou Harris, quite ethereal on "Evangeline".  These are seamlessly woven into the film, feeling like part of the show.  A contrast to (a fine concert documentary in its own right) SIGN O' THE TIMES' rather clumsy inclusion of a video for "U Got the Look."