Word: shelterer
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Dates: during 1970-1979
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Like the Altamont myth on which it feeds, Gimme Shelter is the product of slick, tabloid sensibilities, which is not to say that the filmmakers may not be sincere. But what remonstrance is possible to someone capable of saying, as Albert did, that "I think we would have been disappointed if everything had stopped just at Madison Square Garden." It not for the Angels, and if not for Meredith Hunter, described to me by David Maysles as being dressed in a "nigger zoot suit, straight out of the nineteen-fifties, you wouldn't believe...
...greatest challenge, however, remains the analysis of a film which emerges from factual experience and, in the way it is molded, reveals important social and aesthetic prejudices of which the filmmakers themselves may not have been aware. Joel Haycock '71, while reviewing Gimme Shelter, speaks not only of a film but of the culture it is drawn from and the systems which support...
...producers intent on fantastic publicity hurriedly choose an inadequate location, throw up a scaffold, and invite hundreds of thousands of white middle-class kids to enjoy themselves. Michael Lang was instrumental in arranging both events, and in neither case did he worry himself with considerations such as food, water, shelter, transportation, safety, sanitary facilities, etc. Comparing the footage of Altamont in Gimme Shelter with that of Bethel in Michael Wadleigh's Woodstock , it's hard to see any difference in the crowds' composition or their activities; the former looks like any other mass concert to me, and it's photographed...
...GIMME SHELTER was directed by Charlotte Zwerin and the Mayles brothers, Albert and David; these last have been two of the most important film makers to come out of the direct cinema movement. The direct cinematographer is a special kind of film journalist who, rather than creating (or reconstructing) events, attempts to situate himself in the midst of them. Though he cannot transcend his subjective viewpoint, his object is ostensibly an objet trove, a "real life drama," and the structure of his film is to be determined by the nature of that object in action. Thus Albert says of Gimme...
...exclusive on Meredith Hunter's murder, and no way to integrate the two. Then someone hit on the bright idea of showing the footage to the Stones, of filming their responses to themselves, to Tina Turner, to the Altamont arrangements, and of course to the stabbing itself. Throughout Gimme Shelter the Maysles cut from a filmed event to a shot of that same film running through a viewer, and then cut to one of the Stones' vacant faces, a vacancy, you understand, which is supposed to read as shock, or grief, or incomprehension. When Jagger finally sees the murder footage...