Product Details

• Released on: 2006-03-10
• Rating: Unrated
• Aspect ratio: 1.85:1
• Formats: NTSC, Import
• Original language: English
• Running time: 88 minutes

From Amazon.co.uk
Over the course of three nights at Hollywood's Pantages Theatre in December 1983, filmmaker Jonathan Demme joined creative forces with cinematographer Jordan Cronenweth and Talking Heads ... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fuelled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne.

The staging--and Demme's filming of it--builds toward an orgasmic release of music, rising from the bare-stage simplicity of Byrne, accompanied only by a boom box on "Psycho Killer" to the ecstatic crescendo of "Burning Down the House", by which time the Heads and additional personnel have all arrived on stage for a performance that seems channelled from heaven for the purpose of universal uplift. (God bless Demme for avoiding shots of the luckiest audience in 80s pop history; its presence is acknowledged but not at the viewer's expense.) With the deliriously eccentric Byrne as ringleader (pausing mid-concert to emerge in his now-legendary oversized suit), this circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome. --Jeff Shannon

Amazon.com Essential Video
Over the course of three nights at Hollywood's Pantages Theater in December 1983, filmmaker Jonathan Demme joined creative forces with cinematographer Jordan Cronenweth and Talking Heads... and miracles occurred. Following a staging concept by singer-guitarist David Byrne, this euphoric concert film transcends that all-too-limited genre to become the greatest film of its kind. A guaranteed cure for anyone's blues, it's a celebration of music that never grows old, fueled by the polyrhythmic pop-funk precision that was a Talking Heads trademark, and lit from within by the geeky supernova that is David Byrne.

The staging--and Demme's filming of it--builds toward an orgasmic release of music, rising from the bare-stage simplicity of Byrne, accompanied only by a boom box on "Psycho Killer," to the ecstatic crescendo of "Burning Down the House," by which time the Heads and additional personnel have all arrived on stage for a performance that seems channeled from heaven for the purpose of universal uplift. (God bless Demme for avoiding shots of the luckiest audience in '80s pop history; its presence is acknowledged, but not at the viewer's expense.) With the deliriously eccentric Byrne as ringleader (pausing mid-concert to emerge in his now-legendary oversized suit), this circus of musical pleasure defies the futility of reductive description; it begs to be experienced, felt in the heart, head, and bones, and held there the way we hold on to cherished memories. On those three nights in December 1983, Talking Heads gave love, life, and joy in generous amounts that years cannot erode, and Demme captured this act of creative goodwill on film with minimalist artistic perfection. Stop Making Sense is an invitation to pleasure that will never wear out its welcome. --Jeff Shannon

Review
Stop Making Sense is a prime example of the best way to make a perfect concert movie. First, choose as a subject a band that is as attentive to visual matters as it is to its music -- and preferably one that comes with sterling critical credentials as well. Second, choose as director someone with an unerring sense of composition and an ability to zero in on the key moments in a song, those that will make the most lasting impression or will deliver a message -- subtly or obviously -- to the audience. Third, plan the shoot to as close to within an inch of its life as possible (difficult to do given the vagaries of live performance). Fourth, be in the right place at the right time. Although an individual's reaction to Sense will in large part be colored by his feelings about the Talking Heads, even those who are not fans should be impressed by Jonathan Demme's letter-perfect direction. He employs both handheld backstage and machine-mounted front-of-house cameras, and the contrast between the two is striking. This captures not only the "concept" of the film -- that it is as much about how a show is put on as it is about the show itself -- but also mirrors the dichotomy of the band itself, with the front cameras pinpointing their cold, formalistic quality and the backstage ones pointing up their surprising warmth and vibrancy. Most exciting is how engaging David Byrne comes across; his self-conscious quirks and pre-conceived persona register as natural and appealing, and the amount of energy he puts into the concert is galvanizing. Although he dominates the stage, honey-haired Tina Weymouth still manages to quietly score points on her own. Sense is an excellent film that stands many repeated viewings. ~ Craig Butler, All Movie Guide

Customer Reviews

this is not my beautiful DVD player !!
but it is my extremely entertaining, albeit "contrived" concert event. But that is not a bad thing ! as the resulting DVD manages to capture the energy and talent of a truly great American band. If I could go back in time, one of my first destinations would be the CBGB in New York City, 1977, to see the Talking Heads open for the Ramones. Obviously the Talking Heads stole every show, which is probably why the Ramones disliked them so much !

And even though the four members of the "Talking Heads proper" kind of get lost in this nine-member stage ensemble, David Byrne is still the clear leader, and the contributions of the other original band members are essential to the energy of the Talking Heads experience. and what an experience it is ! Every song is an artistic presentation, with the visual effects beautifully complementing the funky, up beat, afro-synchronic musical riffs. With absolutely radical versions of Life During Wartime and Once in a Lifetime, this is my second favorite musical DVD (second only to Led Zeppelin - which is really saying something !)

A lifelong journey
First I saw the video on MTV. I bought the record, then the CD. Finally I found the VHS and I thought I had everything. Then they released the anniversary edition CD and finally I bought the DVD. If only I would have been able to actually attend.

Need I say more. The music is fantastic, and the presentation is entertaining. This is by far, the best concert video I've ever seen, and if your not already a Talking Heads fan, you will be after you watch and listen.

A Postmodern Cinematic Catharsis Narrative
According to the commentary track included with this DVD, David Byrne may be considered to be the central character in this Talking Heads concert documentary. In the course of the film's 90 minute duration, he is transformed as "a stiff white guy who sheds his inhibitions, gets loose and lets go. He is both changed by the music and set free."

The concert starts on a bare 60 by 40 foot stage with a solo performance of "Psycho Killer" and then slowly adds both equipment and musicians during the first five songs. By the sixth song, "Burning Down the House", nine musicians are present and will remain fully engaged for the next 10 tracks. Three additional tracks are included on the DVD as a bonus.

Seven cameras are used to record the performance, with much of the footage being shot from the perspective of the audience. Indeed, the viewer of the documentary is made to feel that they are witnessing a live event. The director takes great pains to record the artists not just as musicians, but also as "characters" with their own individual performance personalities.

The stage is lit solely by white lighting, with both the type and positioning of the lights permitting an amazing visual variation. Backlit slide photography of both text and representational images are sometimes used in the stage design as well.

The title, "Stop Making Sense", refers to David Byrne's approach to writing song lyrics during the early 1980's. His lyrics are often irrational and illogical, not making sense from one line to the next, yet they still tend to remain both intuitive and emotionally involving.

"Stop Making Sense" is resplendent in its entertaining divergence from the commonplace. Watch, listen and be moved by its wonderfully liberating creative energy!