![]() ![]() Most powerfully, filmmaker Lee takes essential moments to break through the walls of the Hudson Theatre to the troubled world outside. He even lifts his camera to the theater’s fly space, focusing down on the performers like a latter-day Busby Berkeley. At times Lee pushes disturbingly close to Byrne’s evocative face at others he pulls back to encompass the large cast dancing, marching, writhing, playing instruments and, most powerfully, standing absolutely still. Lee, who’s dabbled in music documentaries before, has created one of the most immersive concert films since - well, since Jonathan Demme captured the ethereal essence of Talking Heads in 1984’s Stop Making Sense. The live audience (filmed, of course, before COVID-19 emptied New York’s theaters) is predictably ecstatic, but this filmed version creates an uncanny sense of intimacy, despite the public venue. For “Here,” the opening song, he literally holds a plastic model brain in his hand, singing about its unfathomable intricacies (“Here is a region,” he sings, “that is seldom used.”) ![]() ![]() The result is a film with so many layers of brilliance - musical, dramatic, and cinematic - that it’s difficult, in a delightful way, to focus on any one element at any one time.īarefoot and exhaustingly intense, Byrne is a force of nature, his face set like flint on exploring the secret corners of the human psyche. Filmmaker Spike Lee ( Do the Right Thing) was so blown away by the show’s minimalist staging, elaborate choreography, and driving rhythms, he approached Byrne about bringing it to the screen - not as a straight-on filmed stage show but as an extended music video that commented on the music even while documenting it. His most recent album, American Utopia, became the basis of this 2019 stage show, which also incorporated several classic songs from his Talking Heads days. Talking Heads broke up about 30 years ago, and Byrne went on to remain an influential singer/songwriter. Is there any music video that screams “1980s” more loudly than Talking Heads’ primal “Once in a Lifetime?” There’s bespectacled, bow-tied frontman David Byrne, circa 1980, a cross between Clark Kent and Pee Wee Herman, stiffly spazzing to the song’s complex rhythms, singing of America’s macabre pursuit of material comforts, making a hatchet of his left hand while whacking away at his right forearm wailing, “This is not my beautiful house!”įorty years later, here is Byrne again, standing on the stage of Broadway’s Hudson Theatre, his eyes still piercing but a tad more haunted not quite as willowy but, despite approaching 70, still remarkably bendy.Īnd he’s still singing about what’s important to us - while reminding us what should be important - performing nonstop with a troupe of 11 singer/dancer/musicians with enough energy to power all those garish electrical advertisements that line New York’s Great White Way, just outside the theater’s doors. Reviewed at the 2020 Toronto International Film Festival ![]()
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