This lively documentary celebrates 1950s rock 'n' roll, both through archival clips of the era and concert footage filmed during the '70s. Although the musicians have aged, the performances...
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A group of concerned adults try to ban rock and roll music in their town because they think that the music promotes juvenile delinquency. It's now up to a disc jockey and a hipster to ... See full summary »
Documentary covering a Stax Records-sponsored all-day concert at the 1972 Watts Summer Festival with performances by Stax Records artists such as Isaac Hayes, Rufus Thomas, The Staples Singers, and more.
The Staple Singers,
Punk, New Wave, Reggae and Techno bands from Europe and the US recorded live in several locations in 1980. The biggest names on the bill are the Police and UB 40 but every performance is a ... See full summary »
Wall of Voodoo,
In 1930's Marjorie Kinnan Rawlings moves to Florida's backwaters to write in peace. She feels bothered by affectionate men, editor and confused neighbors, but soon she connects and writes The Yearling, a classic of American literature.
Arne, Calle, and Gunnar are friends, probably in their twenties. One telephones the others, and they decide to visit a nightclub. They hope to meet women and have sex. After they arrive at ... See full summary »
This lively documentary celebrates 1950s rock 'n' roll, both through archival clips of the era and concert footage filmed during the '70s. Although the musicians have aged, the performances are remarkably vibrant, with many acts in fine form. Among the many artists featured are Bill Haley and the Comets, Fats Domino, the Shirelles, Little Richard, Bo Diddley and Chuck Berry. In one of the film's highlights, Diddley and Berry take the stage together to the applause of a rapt audience. Written by
This rockumentary blends concert footage and archival clips into a thoroughly entertaining time capsule. The artists are fantastic, clad in wild costumes and performing against glittery, Vegas-style backdrops. I especially enjoyed the Shirelles (referred to as "the Coppertone Rockettes"), looking and sounding sensational. As they sing "Soldier Boy" on one half of the screen, the other half shows footage from The Day the Earth Stood Still and From Here to Eternity. This photography is sharp (especially the aforementioned split-screen technique), complete with backstage footage and shots of the joyfully stunned audience. Some conservative-themed archive footage (demonstration of a proper dress code, a starched suit smashing a record and declaring that "rock 'n' roll has got to go!") serves as a telling semi-parody of the repression and conformity of the '50s and early '60s and an example of how this jubilant new strain of music helped break it down. The opening title sequence, with Shirley and Lee's "Let the Good Times Roll" playing against flashes of hula hoops and Chevrolet Bel Airs, is worth seeing by itself. VH-1 used to show this movie occasionally.
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