IMDb > "Omnibus" Cream's Farewell Concert (1969)

"Omnibus" Cream's Farewell Concert (1969)

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View company contact information for Cream's Farewell Concert on IMDbPro.
TV Series:
Original Air Date:
5 January 1969 (Season 2, Episode 14)
The historic Farewell Concert at Albert Hall in London by one of rock's greatest groups has been dynamically recorded in this film by Robert Stigwood... See more » | Add synopsis »
User Reviews:
Hear greatness, see trash See more (7 total) »


 (Episode Cast) (in credits order)

Eric Clapton ... Himself

Ginger Baker ... Himself

Jack Bruce ... Himself
rest of cast listed alphabetically:
Patrick Allen ... Narrator (voice)

Episode Crew
Directed by
Sandy Oliveri 
Tony Palmer 

Series Crew
These people are regular crew members. Were they in this episode?
Cinematography by
Mark Molesworth (multiple episodes)
Jeremy Stavenhagen (1997)
Film Editing by
Barry Cornely 
Rob Sylvester (1997)
Nigel Williams (1997)
Sound Department
Donna Bertaccini .... location sound mixer (multiple episodes)
Martyn Clift .... sound recordist (1997)
John Crossland .... sound recordist (1997)
John Hooper .... sound recordist (1997)
Craig Irving .... dubbing mixer (1997)
Michael Lax .... sound (2000)
Editorial Department
Andy Quested .... on-line editor (1997)
Production CompaniesDistributors

Additional Details

USA:50 min | 80 min (extended version)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
Edited into The Cream of Eric Clapton (1990) (V)See more »


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Hear greatness, see trash, 19 August 2014
Author: tehck from United States

This film incorporates everything I hate about concert films and so-called "music video." Instead of a rare and valuable record of one of the most influential acts in the history of hard rock, we get a disjointed, fragmentary, and frankly idiotic set of moving images. During approximately a half hour of concert footage,only about one minute provides a view of what the musicians are actually doing. The rest alternates between extreme closeups of the musician's faces (mostly Jack Bruce), even more extreme closeups of Ginger Baker's hands (but not in a way that reveals his playing), and random shots of people in the crowd. Throw in some "psychedelic" effects, like rapidly jacking the zoom in and out (indeed "jacking" themselves is an apt description of what these filmmakers are doing), and you have one of the most egregious wastes of film and greatest missed opportunities in music history.

But what else could we expect? Even before this film, music video producers were adopting the elements that have come to define the genre's style (one song sequence from the Beatles movie "Help" contains almost every technique that has ever been used since). The overarching theme is that the camera -- and by extension the producer, director, or editor -- is the star of the show. To hell with the musicians. It's far too dull to just set up a static camera with a good viewpoint and let it capture the full performance and allow viewers to direct their attention to the parts of the action that most interests them. No, that doesn't require any talent or skill on the part of the filmmaker, and we must never forget that they are the real auteurs of the show.

And never, never, never expect them to have any knowledge of music in general or of a particular song in the program. Whatever is most musically important at a given moment -- a guitar solo, a drum fill, a crucial lyric -- they are almost certain to be focused elsewhere. And if their cameras should alight on a particular individual at a particular time, they will almost never stay there long enough to allow viewers to see a musically significant interval -- like a complete riff or full measure. It is never about the music but always about their idea of a compelling visual.

One of the worst things ever to happen to popular music was the advent of MTV and the jump-cut, effects-laden, camera-as-star style it institutionalized once and for all. But MTV did not invent that style but only guaranteed its ubiquity. No, there were pretentious, talentless nabobs who knew a "better way" to present stage performances long before. If you watch this abortion of a film, you'll see some of the nabobs in action. My apologies to Misters Bruce, Baker, and Clapton. Only a few thousand people were lucky enough to see you perform during your short career together as Cream, but I was not among them. When I first encountered this program in the early 1970s, I thought I 'd been granted a gift from God. I soon learned it was a cruel, devilish joke. I hope it's keeping its creators warm somewhere.

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