Monday, November 12, 2007

Blender.com just recently posted a list of their all-time top 100 rock & roll movies. They did a decent job, with a few odd choices that have little to do with music (Trainspotting?) here and there.


Here are my personal top 5:

1) Almost Famous (Cameron Crowe): The film is based on Crowe's real-life experiences as a teenage journalist for Rolling Stone Magazine. It paints a beautiful portrait of the changing musical landscape of '73, including an increasingly corporate-based record industry and bands merely looking to cash in on the spoils of fame. Rock music is the life-blood and driving force behind this film.

2) A Hard Day's Night (Richard Lester): Smart comedy sheds human light on The Beatles and showcases each member's unique personality. The Fab Four are a delight in front of the camera, and none of the dialogue sounds forced. Came out at the height of their fame as pop stars before they stopped touring.

3) This Is Spinal Tap (Rob Reiner): The gold-standard for fake documentaries. Christopher Guest, Michael McKeon and Harry Shearer star in this absurd yet painfully truthful spoof of late 70's glam rock bands. Hits a home run showing the difficult and sometimes ridiculous lifestyle of rock stars.

4) Bruce Springsteen and the E Street Band: Live in New York City (Chris Hilson): This is a TV specical, not a movie, but noneoftheless remains one of my favorite live performances captured on film. On the grand New York stage of Madison Square Garden, New Jersey's beloved son rocks the house with amped up versions of crowd favorites such as "Atlantic City". The moving rendition of ballad "The River" will send electric tingles up your spine.

5) I Am Trying To Break Your Heart (Sam Jones): This documentary was shot during the recording of Wilco's album Yankee Hotel Foxtrot. Director Sam Jones got behind-the-scenes access to the band, and captured unexpected in-band squabbling and turmoil on camera. Does a great job of showing the uncertainty that goes along with making an album, as well as record label politics.

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