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Still Rolling: 40 Years of the Rolling Stones on Film – “Gimme Shelter”

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By Matt Singer

In honor of their 40 years on movie screens, from 1968’s “Sympathy for the Devil” to last week’s release of “Shine a Light,” we’re taking a look at The Rolling Stones’ filmography, featuring enough collaborations with great directors to make any actor jealous and enough abandoned or aborted projects to give any movie investor heartburn.

04102008_gimmershelter1.jpgGimme Shelter (1970)
Directed by Albert Maysles, David Maysles, and Charlotte Zwerin

The Film: The Rolling Stones watch the events of their recent American tour as they play out before them on a flatbed editing machine. Though their return to the States was filled with plenty of highlights, including a triumphant series of concerts at Madison Square Garden and a successful recording session at Muscle Shoals Studios, all that really seems to matter is the disastrous result of their free concert held outside of San Francisco at the Altamont Speedway. Intended as a companion event to the recent Woodstock Festival, the day was regularly interrupted by outbursts of bad vibes and outright violence, culminating in the death of Meredith Hunter, an African-American teenager in front of the stage during the Stones’ set, forever marking the show as one of the unofficial signposts on the road to the end of the 1960s.

The Rolling Stones Are: Mick Jagger on vocals, Keith Richards on guitar, Charlie Watts on drums, Bill Wyman on bass, and, for the first time on screen, Mick Taylor on guitar. When founding member Brian Jones couldn’t get a visa for their upcoming American tour, the rest of the Stones fired him in the summer of 1969. (Jones died less than a month after his sacking.) On the recommendation of blues musician John Mayall, Taylor got the job, and though he doesn’t utter a single line of dialogue in “Gimme Shelter,” his presence is felt in all the musical numbers, which are grittier and tighter than any of the performances in “The Rolling Stones Rock and Roll Circus.”

With Special Guest Stars: Opening for the Stones on the tour were Ike and Tina Turner and B.B. King. The latter never appears in “Gimme Shelter,” but the former give a memorable rendition “I’ve Been Loving You Too Long,” in which Tina lovingly and ever-so-suggestively caresses the microphone throughout. Watching the luckiest mic stand in history, Albert Maysles notes on the film’s DVD commentary track that “this was a different period of time… when sexuality was more direct.” Boy, I’ll say. At Altamont itself, the lengthy bill included The Flying Burrito Brothers and Jefferson Airplane. The Grateful Dead were scheduled to appear but backed out after learning of the chaos and violence; the Maysles’ cameras captures their arrival at the venue and the looks of concern on their faces as they learn of the injury to one of the members of Jefferson Airplane.

Best Performance: About 40 minutes into the film, the Stones play “Honky Tonk Woman” and just before the chorus, the first of a string of fans bursts onto the stage and tries to tackle Jagger. Some might just be groupies; others are a bit more intimidating looking; the dude in the dark green jacket sure wasn’t after Mick just to give him a kiss. Nevertheless, Jagger barely misses a beat, and seconds after he’s nearly been dragged to the ground, he’s wiggling his hips and pogoing to the words “She blew my nose and then she blew my mind!” The incidents are altogether terrifying, and seem to portend the even more aggressive audience outbursts that await the Stones at Altamont, but Jagger laps up every second of the attention. After the song wraps, he works the audience up some more. “I think I busted a button on my trousers! I hope they don’t fall down!” he announces with a tinge of faux naughtiness. “You don’t want my trousers to fall down now do you?” Cue the girls’ squeals.

04102008_gimmershelter2.jpgYou Can’t Always Get What You Want: Pretty much every second of the footage of the Stones’ set from Altamont is remarkable, but there are only two numbers: “Sympathy For the Devil” and “Under My Thumb,” the track the band was playing when Meredith Hunter brandished a gun for reasons unknown and was stabbed to death (in self-defense, according to a jury) by several Hells Angels. The Stones played more; who knows what sorts of fascinating moments the Maysles captured but didn’t share with us.

Keith Richards is Weird: There’s a famous scene in “Gimme Shelter” where the Stones are listening to “Wild Horses” at Muscle Shoals, and the camera captures Richards sitting on a couch, head back, eyes closed, singing along more intensely than any fan every could, tapping his feet along to the rhythm in garish snakeskin boots. But that one moment overshadows a cornucopia of Richards’s antics; earlier in the same scene, he produces some kind of food label from his product and announces “Cousin Minnie says, ‘How delicious!'”; checking into the local hotel a short time later, Richards unlocks his door with the line, “Is my local groupie in?”; during the “Love in Vain” sequence, Richards is lying on the floor between the wall and the audio mixer. Still, credit where credit’s due: when the shit starts to hit the fan at Altamont, it’s Richards who makes the most passionate call for sanity when he points his finger directly at some of the scuffling and announces “Either those cats cool it, or we don’t play!” With that, order is restored, if only for a moment.

Aftermath: This is the third film in this informal series, but only the first time we see the Stones in something resembling an interview. In “Sympathy for the Devil,” they provide the soundtrack to a political tableau. In “Rock and Roll Circus,” they dress like buffoons while singing songs praising the working man and his hard life. In “Gimme Shelter,” the Maysles convinced the band to allow them to record their reactions as they sit and watch the rough cut. Not surprisingly, they say little. It’s clear that the band is very comfortable performing as The Rolling Stones, but not terribly comfortable being the Rolling Stones.

Ironies abound: While the Stones’ last movie was a playfully staged carnival, “Gimme Shelter” documented a real circus. The last time Jagger appeared singing “Sympathy For the Devil,” he painted a big picture of Satan on his chest; this time when he sings it, something truly evil is about to happen. And yet, as Godfrey Cheshire noted in a New York Press article that’s included with the DVD, the images from Altamont are all the more alluring “for being so damned and damning.” For all the genuine horror contained in the footage — per Jagger’s request, you watch Hunter’s stabbing twice, first as it plays in real time and then again in slow motion on the Steenbeck — it’s also sort of mesmerizing, and as good an ad for the Maysles’ style of direct documentary cinema as there could be. As the ship sinks and the Stones keep right on playing, the Maysles’ cameras, primarily perched behind the band and shooting out into the crowd, record all these strange, vivid characters. Every time I watch these scenes, I’m enthralled by the girl in the front with long brown hair mockingly flashing peace signs until she realizes Jagger is looking at her, whereupon she self-consciously tosses her hair and starts dancing to the music, and the random guy who spends half of “Under My Thumb” standing next to Mick Jagger, tripping on acid, or the blond girl a few yards away who sits silently crying and nodding. There’s a prominent shot of Hunter in his mint green suit before his stabbing, playing with something in his pocket (the gun perhaps?) and another of Hells Angels leader, Sonny Barger, sizing up Mick Jagger while he sings “Sympathy for the Devil.”

“Gimme Shelter” shows the power of the camera and also its impotence; the Maysles managed to record this murder in the middle of this massive scuffle, but they couldn’t stop it. It does the same for rock and roll: All these tens of thousands of people come to Altamont to hear the Rolling Stones, but their most important plea falls on deaf ears.

[Photos: “Gimme Shelter,” Cinema 5 Distributing, 1970]

Part 1: “Sympathy for the Devil”
Part 2: “The Rolling Stones Rock and Roll Circus”

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

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Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

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IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

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IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

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