Word: concertize
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Dates: during 1970-1979
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That song became the title cut on a well-reviewed album, which was followed by Live Bullet, a kinetic concert set that went platinum and paved the way for last year's Night Moves, a smash album that sold over 2 million copies and contained one of the most haunting of all contemporary songs, a fond, sexy memory of adolescent love...
There is no slick stuff about Seger, not on the records and not in concert. His brown hair flows over the collars of modified Elizabethan shirts, stage gear long out of favor. The music has no labyrinthine lyrics or arcane chord changes. Seger still opens his show with Tina Turner's good-humored, hard-rocker Nutbush City Limits, and the song sets the tone for what follows: plain good times...
Inserted into the concert footage are a series of interviews Scorsese conducted with 'The Band at their plush retreat, and while these sequences are prone to low-key self-congratulation, the interviews are, for the most part, interesting, amusing, and somehow tied to the following number. The personalities of The Band's members come into focus--Levon Helm, the Southern gentleman who grins and shies away from saying too much about the women on the road; Danko cracking jokes and showing off the house; and Robertson, the seasoned storyteller, recounting the history of the group...
Then there are the solo numbers by The Band. They run through the staple numbers in their concert repertoire, including "Stage Fright," "The Night They Drove Old Dixie Down" (perhaps the best number in the film), "The Weight" and other standbys. The Band is so consistent that these songs always sound great, but there is a slight difference between their 1977 renditions and the sound of their 1974 "Before the Flood" tour with Dylan. Four years ago, Garth Hudson's wailing organ played a more central role in The Last Waltz. Robertson's lead guitar dominates most of the songs...
...closing shots of The Band, alone on a strangely-lit stage, playing the insipid theme--attempt to evoke a feeling of free-floating nostalgia. This final scene adds an untoward note of solemnity to the affair; Scorsese would have been better off closing with the final number of the concert, the full-company rendition of "I Shall Be Released." The desired arty effect appears both pretentious and rather silly. In another inexplicable scene, The Band plays a pretty song with EmmyLou Harris, but it is not part of the Winterland concert. Rather, it takes place in a studio, attended only...