1118 The Last Waltz

[swo17]

The Last Waltz



More than just one of the greatest concert films ever made, The Last Waltz is an at once ecstatic and elegiac summation of a vital era in American rock music. Invited to document the farewell performance of the legendary group the Band at San Francisco's Winterland Ballroom on Thanksgiving, 1976, Martin Scorsese conceived a new kind of music documentary. Enlisting seven camera operators (including renowned cinematographers Vilmos Zsigmond, László Kovács, and Michael Chapman) and art director Boris Leven to design the strikingly theatrical sets, Scorsese created a grandly immersive experience that brings viewers onstage and inside the music itself. That music—as performed by the Band and a host of other generation-defining artists, including Bob Dylan, Joni Mitchell, Van Morrison, the Staple Singers, Muddy Waters, and Neil Young—lives on as an almost religious expression of the transcendent possibilities of rock and roll.

DIRECTOR-APPROVED SPECIAL EDITION FEATURES

• New 4K digital restoration, supervised and approved by musician Robbie Robertson, with 5.1 surround DTS-HD Master Audio soundtrack
• In the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Alternate uncompressed stereo soundtrack
• Two audio commentaries, featuring director Martin Scorsese; Robertson; other members of the Band; members of the production crew; and performers Dr. John, Ronnie Hawkins, and Mavis Staples
• New interview with Scorsese, conducted by critic David Fear
• Documentary from 2002 about the making of the film
• Outtakes
• Interview from 1978 with Scorsese and Robertson
• Trailer and TV spot
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by critic Amanda Petrusich

[ryannichols7]

how does this compare to other editions in terms of supplements? I feel like the new Scorcese interview is the only addition here. obviously the UHD bump is the reason we're here

[ChunkyLover]

I wonder if Neil Young's cocaine booger will be restored it all it's glory.

how does this compare to other editions in terms of supplements? I feel like the new Scorcese interview is the only addition here. obviously the UHD bump is the reason we're here

It drops the stills galleries. The archival '78 interview is also "new" since it wasn't on the MGM or Eureka releases.

[hearthesilence]

4K resto and UHD bump alone makes it a must-buy. The old and dated-looking BD never looked like a huge improvement over the DVD, though to be fair the DVD was authored really well and looks great on upconversion.

[hearthesilence]

I wonder if Neil Young's cocaine booger will be restored it all it's glory.

I heard a great story about that. Apparently, it WAS there at the 25th anniversary restoration premiere - a good sign that they went back to the OCN but embarrassing as hell that they forgot to brush it out again. Afterwards, Robertson had a good laugh, something like "I haven't seen that cocaine in 25 years!" but they went back and digitally removed it.

[black&huge]

if the cocaine booger is there I will buy this right away and...

I have never even seen The Last Waltz

[aox]

Yeah, it's the UHD that will really make this one shine. One of my favorite concert films so a very welcome addition. However, I just realized I forgot to watch this for Thanksgiving this year. I don't remember the last year I forgot that Thanksgiving tradition.

[FrauBlucher]

Very excited for this. Glad I held off on all previous editions. If this is anything like CC's previous releases of music docs I will be thrilled

[Maltic]

TBH, the concert parts themselves I find too self-congratulatory (with some exceptions) and in any case not terribly interesting as cinema. The backstage interviews even worse.

I really like the two numbers performed on soundstages, though (with Emmylou Harris and the Staple Singers, respectively). It's also where Scorsese is actually able to "do something", it seems to me.

[jazzo]

Can STOP MAKING SENSE be far behind? To me, it’s the greatest musical performance ever filmed, and someone has to bring it back into print in Region 1.

[hearthesilence]

I hope we get a new BD of Stop Making Sense. It would definitely benefit from a 4K restoration, and even though it was shot in 16mm (I got that right, I think), the HDR would really help given the lighting involved.

Also with The Last Waltz, I've gone back and forth on this, but ultimately, it's the film that got me into the Band. It was only later, after I got their albums, that I learned all the faults - mainly how it plays up Robbie as the leader, how Richard wasn't close to being in his best shape (he handles as many classic leads as Levon on record and wrote more than anyone but Robbie on the first two albums, still their best albums), and how much better Live at the Academy 1971 is as a live album. But I watch The Last Waltz almost every year and it's still really enjoyable. Like the interviews can be bullshit, they're tightly scripted with MANY takes, but they fly by fast. I'm not a fan of Neil Diamond (not unless it's the Bang recordings) and Joni Mitchell's otherwise excellent "Coyote" doesn't do well on-stage, but Van Morrison, Muddy Waters, "Baby Let Me Follow You Down" with Dylan, the Staple Singers, Paul Butterfield, and everything Levon sings, all great performances. The rest is still very enjoyable too - they do a good job of selecting the highlights from the show despite the obligation to represent everyone except poor Bobby Charles.

[therewillbeblus]

Maybe it's because I grew up listening to The Band and was aware of the mechanics of the group around '76, but I've always felt that Robertson comes away looking the worst even though he gets a lot of behind-the-scenes screen time as the face of the group. The other members are far more endearing, even if they don't have as many opportunities to express themselves. Robertson presents as a bit of an egotistical showman whether he's playing on stage or as a talking head (or at the very least, fake and concealed), while the others give off a very authentic energy of humble Canadians (+ Helm, himself from humble origins), and I feel like I get to 'know' them through the way the camera manages to capture their subtle mannerisms, including anxieties and earnest joy, on-stage. Only Robertson seems be to wearing a costume, and it shows, ironically voiding his intentionality of exposure in the doc. Maybe that's just me though.

[Rayon Vert]

That would fit how he comes off too in Levon Helm's autobio/Band bio (This Wheel's on Fire).

[hearthesilence]

Jim DeRogatis in Chicago once said Robbie Robertson (and Daniel Lanois, who actually produced his debut solo album) were by the far the most smug and unctuous individuals he's ever interviewed, and it's not hard to see why when you see the film. Other people have similar accounts, how he looks down at you if you're, say, not Dylan (that was Mickey Jones's account in one interview - he was the drummer who took over for the 1966 tour). On the other hand, Greil Marcus and Jonathan Taplin have nothing but nice things to say about him, and I have no reason to disbelieve their experiences with Robertson either. I can see him being both at different times with different people.

[therewillbeblus]

Definitely, people are more than just one observable account, or their influence on others sensitively and subjectively affected by their behavior, or from a single period of their life. The point isn't to diagnostically judge his character, but to cite how it's ironic to place him at the center of a film/concert only to then emanate a spurious aura, and make the other band members more interesting in the process of keeping them in the peripheral elisions with glimpses of honest, free dispositions

[schellenbergk]

For New Years Day, we traditionally watch music (non-narrative) so I popped in the Blu on the 40th anniversary edition of the 5 disc set (4 CDs of music plus a blu of the film with a Scorsese comentary). Man, what an enjoyable film!

If you don’t have it by all means get the UHD.

However, I’ve got to say there’s no compelling reason to upgrade the fantastic looking blu I already own.

A couple of other quick notes - there’s a conspicuous Confederate flag in the background of some interviews - “The Night That Drove Old Dixie Down” was reassessed on NPR & Slate this year - abd the presence of anti-vaxxers Eric Clapton & Van Morrison reminds this viewer that the “anti-establishment” ethos of 70s counterculture is a contributing factor in the MAGA - neofascist politics of Trumpism.

[jegharfangetmigenmyg]

Re. your "quick notes": So you are one of those who believe that 'The Night THEY Drove Old Dixie Down' is a Confederate anthem? There's a lengthy well-documented (and nice!) story behind the lyrics which Robertson has told many times, and which can easily be looked up. Also, do ya think THE Joan Baez would ever cover a Confederate anthem? Here's a short article about the song, written when the song entered cancel-land in 2020.

Regarding Clapton, hasn't he always been a bit of a suspect character (lookup his politicial views on Wiki) and a boring guitarist, too? Van Morrison, well, basically everybody has always agreed that he was an alcoholic asshole wife-beater who did things his way, and now, well into his 70'ies, he's beginning to sound a bit senile. Well, too bad, but I wouldn't say that it in any way would detract from my enjoyment of The Last Waltz or the best of his discography. But maybe that's just me.

[Maltic]

With the technology at our disposal these days, it could always be cut into a Joni solo concert

[jegharfangetmigenmyg]

They would certainly have to cut the confusing performance by the Staple Singers who were probably held captive backstage with a Dixie flag waving in front of them. After all, for security reasons, they were only allowed to do a soundstage performance.

[Gregor Samsa]

For New Years Day, we traditionally watch music (non-narrative) so I popped in the Blu on the 40th anniversary edition of the 5 disc set (4 CDs of music plus a blu of the film with a Scorsese comentary). Man, what an enjoyable film!

If you don’t have it by all means get the UHD.

However, I’ve got to say there’s no compelling reason to upgrade the fantastic looking blu I already own.

A couple of other quick notes - there’s a conspicuous Confederate flag in the background of some interviews - “The Night That Drove Old Dixie Down” was reassessed on NPR & Slate this year - abd the presence of anti-vaxxers Eric Clapton & Van Morrison reminds this viewer that the “anti-establishment” ethos of 70s counterculture is a contributing factor in the MAGA - neofascist politics of Trumpism.

Of course, The Last Waltz was filmed only three months after Clapton's notorious drunken racist rant at the Birmingham Odeon.

[schellenbergk]

Of course, The Last Waltz was filmed only three months after Clapton's notorious drunken racist rant at the Birmingham Odeon.

I had not heard that.. sad IMO.More proof that great artists can be horrible people…

[schellenbergk]

Re. your "quick notes": So you are one of those who believe that 'The Night THEY Drove Old Dixie Down' is a Confederate anthem?

I did not indicate my thoughts one way or the other, merely cited recent articles and radio segments which do claim that. FWIW I did complain to Brooke Gladstone who reported the piece on WNYC that their segment seemed biased and should have attempted to include a response from Robbie Robertson. Kind of unfair imply a song is racist and not allow the songwriter to respond.

That said, the presence of the Confederate flag in the film was unsettling and diminished my enjoyment of the film.

[flyonthewall2983]

Of course, The Last Waltz was filmed only three months after Clapton's notorious drunken racist rant at the Birmingham Odeon.

I had not heard that.. sad IMO.More proof that great artists can be horrible people…

I wouldn’t be so surprised if coke played as big or equal a part in that pretty awful rant. The documentary on Clapton from a few years ago, Life In 12 Bars talks about that night, and it’s put in the context of his alcoholism which he described as being worse then his heroin addiction which sidelined him from recording and performing for a few years at the beginning of the 70’s.

Within that understanding I could get that his faculties were failing him (they certainly were musically, I’ve heard recordings of shows where he was clearly on a bender and it wasn’t pretty) and that clearly included his social graces up to and including things like spousal abuse and this ugly outburst which added some justified fuel to the punk fire against his generation of musicians. All the while, he described his self-loathing (suicidal tendencies as far back as the late 60’s) as going outward to the point where he didn’t care if “they were all sent to the wall” regarding the black musicians and other people he befriended. The fact he can admit such ugliness within himself was admirable in it’s honesty as it’s terrifying to hear.

That said the way in which the defects of his character manifested in all but making friends like Mick Jagger and others question his anti-vac position publicly, finally made me surely question my relationship to his work as I’d always been a more fairweather fan then the hardcore variety. It’s surely disappointing and I haven’t exactly reached for any of his songs on Apple Music (the prime source for me these days), but a song of his from 1975 “Better Make It Through Today” pierced through that and I’ve had to reckon that like Miles Davis and some other great artists with questionable grace themselves, and the way his music helped me through my own tough times, that that relationship shouldn’t be so severed because of my own attachment to the work.

Much the same goes for Van Morrison too. I knew they’d wanted to work with each other for some time and I was kind of looking forward to it. Needless to say the lyrical content and general concept of looking at rebellion against public safety as some kind of worthy cause is again, as pathetic as it is terrifying. At best it just makes me stick to the old stuff.

[DimitriL]

Jim DeRogatis in Chicago once said Robbie Robertson (and Daniel Lanois, who actually produced his debut solo album) were by the far the most smug and unctuous individuals he's ever interviewed, and it's not hard to see why when you see the film. Other people have similar accounts, how he looks down at you if you're, say, not Dylan (that was Mickey Jones's account in one interview - he was the drummer who took over for the 1966 tour). On the other hand, Greil Marcus and Jonathan Taplin have nothing but nice things to say about him, and I have no reason to disbelieve their experiences with Robertson either. I can see him being both at different times with different people.

I’ll say this much as a side note: I lived in Nashville for a number of years and had a number of celebrity encounters, but Daniel Lanois was by far the nicest famous musician I ever met. I snuck backstage after he performed at the Exit/In, and I encountered him right away. I was terrified he was gonna sic security on me, but instead he asked if I liked the show, I said definitely, he told me I was really happy to hear that, got me a beer, and sat me down with his band to chat for awhile. How many people treat fans like that?

[hearthesilence]

I’ll say this much as a side note: I lived in Nashville for a number of years and had a number of celebrity encounters, but Daniel Lanois was by far the nicest famous musician I ever met. I snuck backstage after he performed at the Exit/In, and I encountered him right away. I was terrified he was gonna sic security on me, but instead he asked if I liked the show, I said definitely, he told me I was really happy to hear that, got me a beer, and sat me down with his band to chat for awhile. How many people treat fans like that?

Man, that's awesome, and great to hear! DeRogatis didn't give specifics beyond that description, so the only concrete details I knew about Daniel Lanois as a person were limited to the anecdotes I read about his sessions with Dylan (which basically depicted him as being very tense, very serious and very certain about what he wanted).