When Martin Scorcese's The Last Waltz was released 30 years ago, it was ballyhooed as the greatest concert film ever created. With little competition emerging in this fledging genre, the superlative was well deserved.
Thirty years and dozens of "rockumentaries" later, The Last Waltz retains its title as the greatest of all time. The insight fans have gained after repeated viewings makes the rock doc even more poignant as a glimpse into the romanticized days of sex, drugs and rock 'n' roll, shot by a man determined to portray his leading man with the same swagger and panache as a matinee idol.
Scorcese captures the final, 1976 concert from The Band at San Francisco's Winterland theatre. The group that had previously been known as Bob Dylan's backup lackeys had spent the past decade emerging as prominent voices in their own right.
Wishing to end the grind of touring with a final hurrah, The Band invites some friends, including Eric Clapton, Joni Mitchell, Van Morrison and a cocaine-entranced Neil Young. While the performances are predictably superb, it is the off-stage footage of frontman Robbie Robertson, along with other band members (bassist and singer Rick Danko, keyboardist and singer Richard Manuel, organist and horn player Garth Hudson and drummer and lead singer Levon Helm), being interviewed by Scorcese that enhances the message and tone of the music they are celebrating.
The audience is delighted to be treated not only to personal accounts of musical inspiration, but to multiple camera angles that expose a perspective not seen by even the most devoted observer, as well. A sideways close-up of guest Bob Dylan during his performance of "Forever Young" reveals a pensiveness and sincerity we had long associated with the great crooner, maintained through the twilight of his career. Joni Mitchell engages Robertson through a series of sexually charged glances during their performance of "Coyote," and Van Morrison channels a slovenly Irish pub singer as he trudges through "Caravan."
Robertson is confident and magnetic, a living embodiment of the rock star persona. Scorcese, who was already becoming known as a master of mobster movies, showcased his adeptness at painting a portrait of brooding masculinity, Robertson's natural charisma highlighted by his good looks and boyish egotism.
On a superficial level, The Last Waltz is a concert bringing together some of the finest singers and songwriters of the past century, performing at peak level. But a profound study of masculinity and finality of loss can be found just beneath the sparkling surface.
Be the first to comment on this article!