STOP MAKING SENSE (1984)
"More than three decades after Jonathan Demme’s 1984 Talking Heads concert film, Stop Making Sense represents not only the definitive document of this most idiosyncratic and forward-looking of rock acts, but also a landmark cinematic achievement. Assembled from footage of four December 1983 performances at L.A.’s Pantages Theater, it’s a masterfully executed and profoundly ambitious reimagining of the concert film genre, achieving something at once wildly theatrical but unpretentious, endlessly bizarre but utterly legible, and publicly joyous without resorting to pandering."
Much like Martin Scorsese’s The Last Waltz (generally considered the relevant competition in the category of Best Concert Film Ever) was a collaboration between the filmmaker and The Band’s erstwhile leader Robbie Robertson, Stop Making Sense is the by-product of the twin-engined genius of Byrne and Demme. Released more than 20 years ago , it remains an inimitable marvel and a fascinating time capsule: the fleeting intersection between two visionary artists whose propensity for sly, subversive takes on populist entertainments made them ideal compatriots in a sound and vision experiment as enduringly vital as any in the history of rock ’n’ roll.
Director Jonathan Demme captures the frantic energy and artsy groove of Talking Heads in this concert movie shot at the Hollywood Pantages Theatre in 1983. The band's frontman, David Byrne, first appears on an empty stage, armed with only an acoustic guitar, and is gradually joined by bassist Tina Weymouth, drummer Chris Frantz, keyboardist Jerry Harrison and a cadre of backup singers as they perform the band's hits, culminating in an iconic performance featuring Byrne in an enormous suit.
The music of the Talking Heads draws from many sources, in addition to traditional rock 'n' roll. You can hear the echoes, in Byrne's voice, of one of his heroes, country singer Hank Williams. In the music itself, there are elements of reggae and of gospel, especially in the driving repetitions of single phrases that end some of the songs. What is particularly delightful is that the Talking Heads are musical: For people who have passed over that invisible divide into the age group when rock sounds like noise, the Heads will sound like music.
The film's peak moments come through Byrne's simple physical presence. He jogs in place with his sidemen; he runs around the stage; he seems so happy to be alive and making music. Like Springsteen and Prince, he serves as a reminder of how sour and weary and strung-out many rock bands have become.
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