Not Signed-In
Which clippings match 'Sixties Cool' keyword pg.1 of 1
29 DECEMBER 2014

Sympathy for the Devil (One + One)

"This is one of those rare and unsettling examples of a rock film which has the all the immediacy of reportage from a distant war–zone. The terrain is Olympic Studios in London in June 1968, where the Rolling Stones, recovering from the critical mauling of At Their Satanic Majesty's Request, are at work on the tracks that would become Beggars' Banquet. The film–maker was Jean–Luc Godard, at the height of his reputation as Europe's most daring director. Godard had briefly left Paris for London in the wake of the Paris riots of May '68 with the aim of making a film about art, power and revolution. The Stones, at their most dazzling and Luciferian, were, as Godard saw it, perfect for the role of agents of anarchy in a movie whose stated aim was to 'subvert, ruin and destroy all civilised values'. ...

As the track is worked and reworked, we glimpse the inner dynamics of the Stones. Bill Wyman and Brian Jones are on the margins (Jones spends most of the film shuttered away, ostracised, playing an inaudible and irrelevant acoustic guitar). Charlie Watts is every inch the dapper jazz mod, as spare with his incisive drumming as he is meticulous with his clothes. Jagger is languid, bored and then sexually ambiguous and cruel, coming only properly to life when he sings the lyrics. Most compelling of all is Keith, changing rhythms and cues at will, eyes gleaming, restless and fiercely intelligent, a million miles from the stoned zombie of legend. When he choreographs and leads the band and acolytes (including the witchy Anita Pallenberg) into the 'whoo, whoos' that make the track so malicious, it is sinister and stunning."

(Andrew Hussey, 21 May 2006, The Guardian)

1

2

3

4

5

6

7

8

TAGS

1960s1968 • agents of anarchy • Anita Pallenberg • Beggars Banquet (1968) • Bill Wyman • Black Panthers • bloodied corpse • bluesy grind • bookseller • Brian Jones • car park • Charlie Watts • Dave Mason • first-person narrative • jazz mod • Jean-Luc Godard • Jimmy Miller • JLG • Keith Richards • languid • left-wing idealsleftwing activistLondon • Lucifer • Maoist hippies • Mein Kampf • Mick Jagger • music documentarymusic recording • music studio • Nicky Hopkins • Olympic Studios London • One Plus One Sympathy for the Devil (1968) • Paris May 1968 • radical chic • recording artistsrecording sessionrecording studioreportage • Ric Grech • rock musicrockumentary • Rocky Dijon • samba • sexually ambiguous • sixtiessixties cool • studio scene • The GuardianThe Rolling Stones • urban guerrilla • Watts Street Gospel Choir

CONTRIBUTOR

Simon Perkins
24 NOVEMBER 2013

Thelonious Monk: Straight, No Chaser (1988)

"Expanding on footage of Monk's 1967 tour shot by Christian Blackwood, Charlotte Zwering (Gimme Shelter) has created the definitive filmic portrait of the master bop pianist–composer. This captivating DVD digs deeper into the life of the famously eccentric pianist–composer ...

Straight, No Chaser fleshes out Monk's character considerably – from his harmonic theories to his use of quarter – tones (produced by hitting two adjacent piano keys simultaneously and occasionally even striking the boards with his entire forearm or his foot) to his mysterious relationship with his patron, baroness Nica de Koenigswarter."

(Vlatko, TopDocumentaryFilms.com)

1
2

TAGS

16mm19671988archive footageavailable light • Barry Harris • bebop • Ben Riley • black and white • Bob Jones • Bruce Ricker • Charlie Rouse • Charlotte Zwerin • Charlotte Zwering • Christian Blackwood • cinema of the streetClint Eastwood • Dick Hyman • direct cinemadissonancedocumentarydocumentary filmeccentricfilm lighting • filmic portrait • Frank Paccione • harmonic • Harry Colomby • improvised methodinfluential creators • jazz great • jazz masterjazz performancejazz pianist • Jimmy Cleveland • John Coltrane • Johnny Griffin • Juilliard School • Larry Gales • live performancelow light • Malpaso Productions • music documentary • music tour • musical genius • Nellie Monk • Nica De Koenigswarter • offbeat • Phil Woods • pianist-composer • pianoportrait • posthumous interview • Ray Copeland • recording sessionrecording studiorehearsal • Samuel Wright • sixties coolsocial realism • Straight No Chaser (1988) • Teo Macero • Thelonious Monk • Tommy Flanagan • Warner Bros

CONTRIBUTOR

Simon Perkins
11 APRIL 2011

Onscreen discussion of the ontology of the photographic image

"The film commences with a fast moving introduction to the very stylish world of a hot fashion photographer, Thomas, played by that emblematic '60s actor, David Hemmings. This is the world made notorious by magazines like Tatler and Queen as well as all the tabloids of the world, all Pucci fashion, dolly birds (Jane Birkin made her name in this film), drugs, fast cars and rock–and–roll. ...

Throughout Blow Out and Blowup there is always a sense in which recording media themselves are seen as, somehow, treacherous. Antonioni's Blowup forcefully reminds us that even the latest technologies can mislead or betray us. In the computer age, it this remaining element of ontological uncertainty that still troubles the human observer–for we are not, quite yet, masters of information"

(Jonathan Dawson, February 2005, Senses of Cinema)

1
2

3

4

5

6

7

TAGS

1960s1966 • Blow Out (1981) • Blow-Up (1966) • Carlo Ponti • casual sexcontextcoolcountercultureDavid Bailey • David Hemmings • diegetic sound • Edward Bond • fashionfashion modelfashion photographerfashion photography • fashion shoot • feature filmfilm grainHerbie Hancockhuman perception • Jane Birkin • John Castle • Julio Cortazar • layeringLondonmake-upMichelangelo Antonionimod fashionmurderobscured view • ontology of the photographic image • photographphotographer • photographers studio • photographic blow-upsphotographic image • Sarah Miles • Senses of Cinema (journal)sixtiessixties cool • swinging sixties • The Yardbirds • Tonino Guerra • transparency • transparent layers • truth of perception • Tsai Chin Gillian Hills • Vanessa Redgrave • Vera Grafin von Lehndorff-Steinort • Veruschka von Lehndorff • whole is other than the sum of the parts • young lovers

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.