Amazon.com essential video

Both a classic documentary and a vital pop-cultural artifact, D.A. Pennebaker's portrait of Bob Dylan captures the seminal singer-songwriter on the cusp of his transformation from folk prophet to rock trendsetter.Shot during Dylan's 1965 British concert tour, Don't Look Back employs an edgy vérité style that was, and is, a snug fit with the artist's own consciously rough-hewn persona. Its handheld black-and-white images and often-gritty London backdrops suggest cinematic extensions of the archetypal monochrome portraits that graced Dylan's career-making early-'60s album jackets.

Pennebaker's access to the legendarily private troubadour enables us to witness Dylan's shifting moods as he performs, relaxes with his entourage (including then lover Joan Baez, road manager Bob Neuwirth, and poker-faced manager Albert Grossman), and jousts with other musicians (notably Animals alumnus Alan Price and Scottish folksinger Donovan), fans, and press. It's a measurement of the filmmaker's acuity that the conversations are often as gripping as Dylan's solo performances. Grossman's machinations with British promoters, Baez's hip serenity, a grizzled British journalist's surrender to the fact of Dylan's artistry, and the artist's own taunting dismissal of a clueless sycophant are all absorbing.

With the exception of the studio recording of "Subterranean Homesick Blues," the live performances (including five newly restored, complete audio tracks excised from the original film but included on the DVD version) are constrained by crude audio gear.Their urgency, however, is timeless, as is Pennebaker's film, a legitimate cornerstone for any serious rock video collection. --Sam Sutherland ... Read more

Reviews (59)

The Mystery Behind the Enigma
Don't Look Back is the best documentary about a musician on tour that I've ever seen. I can't say enough good things about it, and it is all I can do to imagine how D. A. Pennebaker simultaneously made himself so ubiquitous and so unnoticed as to capture the remarkable footage that he got on Dylan's British tour. From the incredible sequence of Joan Baez warbling the then-unreleased "Percy's Song" even as Dylan is pounding out the lyrics on his typewriter, to the revealing moments where Dylan manager Albert Grossman quite literally strong-arms the BBC into a high-paying deal for a tv appearance, to Dylan himself, at the most accessible he would ever be in his long career, alternately jousting and jesting with the British press, most of whom seem completely ignorant as to which is the jest and which is the joust. Dylan again, talking with a fan who doesn't like "Subterranean Homesick Blues" because "it just doesn't sound like you," (which was the whole point of the song), and Dylan's gritted-teeth reply: "Oh, I see what kind of person you are right away." Dylan yet again, in an astonishingly unguarded moment, bawling out everyone in his hotel room over a wineglass Alan Price dropped out of the window, acting like the only responsible adult in a kindergarten class...and when a drunken Price admits the deed, Dylan lets him have it with both barrels and finally kicks him out, despite Price having been Dylan's best friend in England throughout the entire film. In fact, a lot of this movie is about Dylan shedding elements of his persona, entourage, and his music. Bringing it All Back Home had just been released when Don't Look Back was being filmed, and the album served as a harbinger of the rock and roll shift Dylan's music was about to take. It's far more noticeable in hindsight, of course, but in this film you see Dylan breaking his ties with his folkie past. "Subterranean Homesick Blues" being shown right up front is a dead giveaway, but you may miss some of the more subtle signs: His growing disenchantment with being pegged as a folkie, evidenced by both the abovementioned reaction to his fans and his jests/jousts with the press, both harbingers of the surreal "anti-interviews" Dylan would give over the next few years. Then there is the slow disintegration of his relationship with Baez -- there is a moment about midway or 2/3 of the way through Don't Look Back where Joan walks out of Dylan's hotel room...and though she appears later in the film through the judicious use of editing, Baez has since admitted that that was the moment she walked out of Dylan's life. Another folk-music tie broken, as much by Dylan as by Baez (his near-indifference to her through much of the film is chilling...). There is also Dylan's discomfort with the "Donovan issue", both in being compared to Donovan and in meeting the guy. You can see the uncertainty all over Bob's face during this sequence, and the nicer he tries to be to Donovan -- who quite honestly sholdn't even be in the same room with Dylan -- the funnier the whole thing gets. Then there is Dylan's meeting with the President of Dylan's British fan club -- the bespectacled weedy fellow who looks like he just stepped whole and breathing out of the nightclub scene in A Hard Day's Night. Dylan's conversation with this guy is polite on the surface, but again, there are undertones of discomfort, even dislike, so palpable that they make you want to cringe. Dylan is so clearly disenchanted with some aspects of his career, even though he puts on a game face and acts satisfied with what he's doing, that it's a wonder he didn't completely telegraph his shift to electric music. (Actually, he did -- it's just that most people were too blind to see it coming at the time.)

As I said above, the footage in this film is incredibly revealing. Never again would Dylan be so accessible, so honest and forthright, as he was in Don't Look Back -- and even here, as I've said, you can sense his withdrawal from that accessibility begin. How Pennebaker managed to capture all this intense, remarkable, human footage of Dylan and co., without his subjects noticing or caring about how they came across, is beyond me. Few music documentaries, before or since, have had such verve, or such nerve, as to show their subjects in such a potentially-unflattering light (the only two I can think of that come anywhere close are Gimme Shelter, the Maysles Brothers' astonishing Stones/Altamont document, and Let It Be, the Beatles' on-film disintegration (and final live performance) which stupidly remains out of print). Don't Look Back does all that and more, never cheating, never prevaricating or retreating, always telling the truth. It was a rare achievement for its time, and a film that could never be made today.

(FINAL NOTE: All right, Messrs. Dylan and Pennebaker -- now that Don't Look Back has been remastered and rereleased, how about doing the same with the long-missing and much-missed 1966 followup, Eat the Document? It's no less raw, revealing, and astonishing than its predecessor, and is richly deserving of a rerelease. Here's hoping!)

Trying to be hip, and actually being hip in spite of it
There's no doubt this film was an influential piece of cinema verite for subsequent rockumentaries. With little ado, it follows Bob Dylan and his small entourage (including Joan Baez) around England on an acoustic concert tour in the spring of 1965, in delicious black-and-white (mostly with hand-held cameras.) Much of the time we are in cars and hotel rooms, with occasional footage of Bob onstage performing alone with his guitar and harmonica. On a certain level we get a gritty version of the carefree fun of the Beatles' "A Hard Day's Night" - Bob and friends mostly hang around, seemingly without a care in the world, not appreciating how fleeting is this era of anyone's youth. At the same time, Dylan spends much of his time in pointless debates with journalists and others who are hanging around, keeping up a self-centered patter that I trust would embarrass an older man looking back on his cocky youth. It's argument for the sake of argument. His insouciant bravado has always been maddening; Bob shows little of his true self to the public in interviews and encounters, but then...he goes onstage, and those songs speak directly to our hearts, now as then. It's a weird contrast between the backstage kiss-off artist and the onstage genius. However, snatches of the real Dylan do slip through in this footage too. He seems wary and insecure around peers such as Donovan. Before going onstage at the Royal Albert Hall, the man who has just spent a long time telling a reporter that Time magazine is meaningless stops to carefully check himself in the mirror before going on. After the same concert, he seems genuinely upbeat and glad about the performance. In these and a few other glimpses, we see chinks in the armor of the self-conscious rebel, and behold, there is a human being beneath. No wonder the songs are so good. (The sound quality of the live performances isn't great in this film, but then it probably wasn't in real life in those days either.)

Vintage Bob...a classic
It would be impossible for me to say all I wanted about Bob Dylan in a short review, so I will just say I'm a huge fan. Don't Look Back is a classic, a must-have for Dylan fans. This fly-on-the-wall film shows Bob at just 24, ready to turn the music world on its head by "going electric." Dylan is shown doing what he does best (besides writing songs): toying with reporters and would-be interviewers like a cat would toy with a mouse. There is the infamous run-in with the Science Student (my favorite part of the film). Dylan turns every question the poor kid asks around and fires them right back with honed precision, leaving the young Englishman confused and babbling. There is the hilarious part at the end of the film where Dylan insists "I am just as good a singer as Caruso. Have you ever heard me sing? You have to listen closely, but I hit all those notes. And I can hold my breath three times as long, if I wanted to." Dylan is poking fun at himself, but the befuddled reporter doesn't get it. And then there are the intimate, silent shots of Bob on a train, removing his trademark sunglasses and revealing visible exhaustion, reminding those watching of the enormous pressures being placed upon him. Add all this to the concert footage and the classic opening to the film, in which a deadpan-looking Bob is filmed holding cue cards with lyrics to "Subterranean Homesick Blues" printed on them, and you've got a wonderfully entertaining look at one of the world's greatest artists. Included are supporting players like Joan Baez (slightly obnoxious in this film), Donovan, and Bob's manager, Albert Grossman. All Dylan fans, and fans of rock-oriented films, should see Don't Look Back. You won't regret it.

So good it hurts
This film gives the viewer a candid view of an incredibly talented, precocious, irreverent, and actually quite beautiful young Dylan revealed in wonderful concert and behind-the-scenes footage. After seeing the film I felt that Dylan's legendary arrogance has been perhaps misunderstood -- actually he was pretty humble and engaging with school kids and fellow musicians -- more interested in learning from them than in showing off his own talents. What comes off as arrogance is his almost allergic aversion to simplistic, cliched, or hypocritical concepts imposed upon him by clueless, syncophantic journalists and fans. His trenchant verbal sparring with a reporter from Time magazine, in which he argues that the readers of Time are settling for secondhand drivel and that Time has too much to lose by telling the truth, is one of the most refreshing and amusing interviews I've ever seen. Likewise, one can appreciate his struggle to avoid being pigeonholed as either a political activist or a folk singer; certainly his political sensibilities are profound, but he understandably chaffed at the attempts to turn him into a mouthpiece for any single cause or established movement. His instinctive fight to keep the doors of perception ajar has proven well founded; it is precisely his protean shape-shifting and incessant search for new levels of meaning and musical expression that have made him such a timeless icon. The one sour note in the film was his obviously strained relationship with Joan Baez, not only a brilliant singer in her own right but also a witty mimic and comic, whom he relegates to groupie status and mostly ignores. Given the fact that she invited Dylan to share her stage when he was virtually unknown, one would have expected Dylan to have invited her to sing a song or two. What a waste of talent -- but then, apparently their romantic relationship was in its death throes, so it may be unfair to judge. Ultimately, this film made me sad simply because it shows the sheer brilliance of a person at a moment in time that is now forty years in the past. We can look back, but we do so at the risk of having our hearts broken.

Bob's an ass, but that's ok.
If that's who wrote the songs, then that's who's supposed to 'star' in the movie. {Roger Ebert had to check his archives to see if he orginally noticed what a jerk Dylan was,(he was happy to find that his current opinion hadn't been contradicted in his 60's review).} The funny thing is, the journalists who
Bob is so rude to were giving him good writeups.(ps,for whatever reason, Amazon 's been post-scripting this review as being for the vhs version, is it, in fact, for the dvd.) ... Read more

Reviews (8)

Good but a little white-washed
This PBS documentary is loaded with clips from Lenny's long career, and captures many of his great moments on film. There are also the requisite interviews with people fawning over him. No mention of the extremely negative (often deservedly so) reviews he got in his early days at the helm of the NYPO, or the sordid story of how he wrestled the top job there away from Dmitri Mitropoulos by "outing" him when he himself was flagrantly bisexual. What he did to his wife, emotionally, in her final years, is only briefly hinted at. The whole Tom Wolfe/Radical Chic incident is also only glossed over in about a minute, and the effects this and other "anti-Lenny" incidents had on his psyche are barely mentioned. His depression is talked about, but the reasons behind it are not. But TV documentaries usually skim the surface this way, and the real treat is in the performances and interviews captured here. This is a great two hours for any Bernstein lover. They may not learn anything new, but they'll have a wonderful time reliving the old.

"Lenny in Retrospect"
Leonard Bernstein is perhaps one of the greatest men to stand on any podium, anywhere in the world. One gets a sense of how much larger than life he was through watching this video. The video provides a poignant look into his family life, and how much of his work was influenced by his personal life. Like any man Bernstein had to grapple with outward, and inner personal turmoil which is highlighted in this video. The Chichester Psalms allowed him to get further in touch with his Jewish roots, something that he was very proud of. Clips from rehearsals around the globe are included, as well as personal family home video footage. This video is a must for any home library, and especially for any Bernstein fan.

Reaching for Lenny
"They don't make 'em like they used to." This phrase can certainly apply to Leonard Bernstein: conductor, composer, teacher, humanitarian, and complex individual. Bernstein worked hard to knock classical music and opera from their pedestals and make those genres accessible to ordinary people, while according popular music and jazz the same respect as classical and opera. Whether it was his charisma, sense of humor, good looks, "Renaissance Man" attitude, or a combination of all these elements, Bernstein still has no peer in attempting this feat. Maybe it's just not "lucrative enough" in our corporate-oriented, essentially conservative, times.

Accompanied by interviews with friends, collaborators, and his children, "Reaching for the Note" provides a compelling portrait of Bernstein. This could have been a conventional documentary, but it instead captures a flavor for Bernstein's life. Rather than just covering "major events," this documentary also explores the struggles of being Leonard Bernstein. Beginning with footage from his funeral cortege (accompanied by the second movement of Beethoven's Seventh Symphony), this documentary contains many unforgettable and moving moments, such as Bernstein's chiding of the Vienna Philharmonic for giving an indifferent rehearsal of Mahler ("I don't care about your 'eight hours.'"); building morale for Israel in the Six Days' War by performing Mahler's "Resurrection" symphony (which, in view of the atrocities committed by Israelis against Palestinians, may begin to seem as politically incorrect as Wagner's anti-Semitism); and the montage of home movie footage from the Bernstein family's "golden years," which seems even more poignant when one realizes how it collapsed under the weight of Bernstein's personal struggles in his later years. Most striking are the ambiguities of the man: a conductor who also wanted to be remembered as a composer; a humanitarian who could become temperamental; a family man who struggled with his bisexuality. Was it indecision, or simply a desire to live life to its fullest in the material and spiritual realms?

Whatever one may think of the man, Bernstein's legacy has made him a musical titan. And until someone else as well-read, charismatic, godlike, and human comes along in conducting, Bernstein is guaranteed a top spot alongside such legends as Herbert von Karajan and Sir Georg Solti.

One decade after his death, Lenny is still sorely missed. Who knows what else he could have done had he smoked a few less cigarettes, downed a few less bottles of scotch, and had been productive into his early eighties? He would have recorded Benjamin Britten's "Peter Grimes," or written his planned symphony about the Holocaust. But Lenny is gone, and we won't see the likes of him again. But, as one person said, maybe Lenny's spirit is now in the body of a bright and talented ten-year-old. Perhaps s/he will compare the angst in Mahler's symphonies and the music of nine inch nails, or rail against the corporate oligarchy, mean-spiritedness, and political conservatism that's slowly devouring our country. One can only hope that Lenny will live again. If not, then he has left us with much to contemplate, both about music and ourselves.

Not as good as I expected
I was a bit disappointed by this release., especially considering PBS' impeccable credentials. The very beginning set my expectations very high : slow-motion, artsily fuzzy sequences from Bernstein's funeral cortège through the street of NY, touchingly commented by his son. Very intense, but also very telling of the overall approach of the movie : the man first , and then the musician. It's not an easy task because, as those interested into this great composer-conductor know well, Bernstein was a very complicated, troubled and sometimes puzzling man. In this respect the video is very nicely done: it's pretty straighforward about potentially controversial issues like L.B.'s depressions or bisexuality, without sounding gossipy or trashy. All these aspects are described though lenghty interviews with L.B.' s son and daughters. This has obvious advantages but also shortcomings : I would have liked to hear somebody from outside the family, somebody less viscerally involved, so to say. I also liked the way the video gives us, through the Bernstein family's home movies, a fascinating idea of the life of the post-war American cultural elite. There are flaws, though. First of all, to apply the definition of "motion picture" to this documentary is, sometimes, kind of a stretch: the viewer spends decidedly too much time staring at vintage photographs with an audio commentary not especially related to them. This is actually baffling, because I don't think there has ever been a more filmed or recorded artist than L.B. and it's hard to believe that PBS could not obtain the rights on more video performances from Deutsche Grammophon, Sony/CBS and whoever else. Through the narration we learn about L.B.'s ascent to prominence and his lifelong internal struggle between the great conductor he was and the great composer he desperately wanted to be, but there aren't enough visual demonstrations of the great music that flowed from this troubled soul. And we don't get much of the legendary impact of a Bernstein performance either. In this respect the few interviews to musicians don't help much, being for the most part ridicolously brief (average 2 minutes) : a world-class maestro like Andre' Previn is just allowed the time to say that "L.B. was the figure who had the greatest influence on American music". Thank you very much. I don't want to seem harsh on this video: it's what I would call a "classy" product, and

probably a totally comprehensive Bernstein portrait is far beyond the possibilities of a 2-hour video, but if it's Bernstein the musician that you really want to get to know, you'll learn much more from the 10-minute part devoted to him by the marvelous Teldec video "The Art of conducting".

An Essential American Musician
For many of us growing up, Leonard Bernstein *was* American music. This excellent, thrilling PBS biography captures the essence of Bernstein. He was flamboyant as an actor at the podium, but it never seemed forced. And his performances seemed to intensify the music--he was like the speaker in "Spinal Tap" that went up to 11 instead of just 10. Watching this, you begin to feel as music-intoxicated as Bernstein himself must have been. This documentary doesn't whitewash his dark side--substance abuse, ridiculous radical-chic politics, a certain predatory sexuality, and the deep unhappiness that struck him in middle age (after he had the world at his feet.) As he turns 70, you can see the dissipation written all over his face. But he was a man with great musical gifts who changed American culture, and this fast-paced video captures that very well. ... Read more

Reviews (11)

ELLA WAS AND STILL IS THE FIRST LADY OF SONG
Something To Live for is filled with some of the best moments in popular music, I really enjoyed the duet with Frank and Ella ''the lady is a tramp'', she was one of the best, this dvd
is informative and enjoyable, if you're a fan of jazz or just getting into it this dvd is a must, THE FIRST LADY OF SONG
will be missed but never forgotten.

Ella, the BEST
Many things have been written about Ella Fitzgerald. She is my darling. I have been enjoying Ella's voice and swings for many years now and I just cannot get enough. This video has brought Ella much closer to me. It is extremely well done and most enjoyable. My only wish is to have seen her singing "Love for Sale" live (I wish that was on the video too). Anybody will be moved by this Grand Lady's story and voice. Ella is eternal.

"SOMETHING TO LIVE FOR" IS ELLA'S VOICE!!!!!
Luckily I was able to see Ella In Concert numerous times throughout the 70's and 80's and was honored to have her autograph two L.P.'s by her limousine after a concert she gave at the Junior College I attended at the time in 1972!! Ella was kind and gracious and that quailty plus her brilliant artistry really come throught and shine in this stunning documentary of her life and career!!! Tony Bennett is the perfect choice to narrate this American Masters production and his love of Ella comes through and adds alot of soul to the special. Performance footage is ultimately what becomes breathtaking to experience here and when Ella sings the classic "Something To Live For" it is breathtakingly beautiful and completely haunting. The use of concert footage from the various stages of her career show that Ella found joy in sharing her gift with her audience and songs like "For Once In My Life" become life experiences that become emotionally engrossing as well as being technically brilliant. This American Masters special is a keeper so anyone who loves Ella get this one fast as this is the best available on this wonderous and gifted talent!! BRAVO ELLA!!!

a must all the way
can't ever say enough about Ella Fitzgerald She is truly one of the Greatest Voices that I have ever heard.this DVD Captures so many elements of Her&you can't ever get enough once you are listening too Her Range&the way She handles the material.Highly Enjoyable.Classy like the Lady Herself.

Musically, smooth as silk.
I grew up watching Ms. Fitzgerald in the glass-shattering "Memorex" commercials which are included in this DVD. Even at that age her voice was something to behold. The quintessential Ella moment comes three minutes into the DVD- after the credits- as she flawlessly renders the torch song "Lover Man" dressed in basic black. This documentary captures Ella's golden era- before the various medical problems. As was mentioned earlier the documentary itself has gaps, as certain years and decades are skimmed over and not all scenes are identified or captioned. But music and singer are stunning, showing a buoyant, incredibly shy woman, beautifully full of figure, whose silky voice positively resonates. There are also clips of a 1979 interview from Andre Previn and marvelous recollections from her bandmates- including one who remembers her being able to break into song on the tour bus and silence all of her fellow musicians. (The song heard is Duke Ellington's "Azure Mood"). The TV show clips are what you really want to see: performances with Nat "King" Cole, Bing Crosby, Mel Torme', Dinah Shore and Joan Sutherland, Count Basie, Duke Ellington, and most memorable a parry-and-thrust duet with Frank Sinatra on "The Lady Is A Tramp" from his 1967 special. A platinum time capsule of a timeless perfomer. ... Read more

Description

Join Ani DiFranco, her band, and members of the extended Righteous Babe family as they crisscross the country in this long-awaited, one-of-a-kind portrait of the Li'l Folksinger at work. Videographers spent years on Ani's trail, capturing her onstage, in the studio, and on the tour bus--footage which Ani herself shaped into a very personal self-portrait.The resulting movie, which draws on material from as far back as 1997, focuses on her 2000 and 2001 tours. This impressionistic collage takes you way behind the scenes; you'll watch a new song take shape and learn the stories behind some favorite older ones.Over two dozen songs are featured, including two brand new Ani songs and previously unreleased live versions of many of her classics.As dynamic, thought-provoking, and fun as one of her concerts, Render gives you a sneak peek into Ani's life and music in her own words, on her own terms.It's a visual live album, it's a road film, it's an art flick, it's a document of a movement in time. ... Read more

Reviews (19)

difranco's pretentious foray into film disappoints
ani difranco's "render" dvd falls exceptionally short of capturing the excitement of her live concerts. this dvd is victim of poor editing, interjecting lengthy commentary during live footage and subsequently ruining the experience. furthermore, the style of this film is self-consciously "artsy," utilizing focus variations, slow motion, etc. to evoke an artificial, contrived "psychedelic" motif that is not advantageous to conveying the power of difranco's captivating live performances.

perhaps most disappointing is the greatly inflated sense of self-importance that ani exemplifies during the course of the film.
difranco takes an opportunity to disparage her audience for turning her emotional art into a "soccer chant" by singing along, severing any semblance of genuine artist-audience interaction by creating clear boundries between the divine artist and the subservient flock of elated fans. issues of political importance are rendered nearly intolerable through difranco's elitist persona.

despite ani difranco's musical brilliance, "render" displays a side of ani difranco that is utterly unattractive: a little folk singer who finds solace in marijuana, ostentation, and laughing at her own jokes. while ani's career has produced music of immeasurable quality, her personality is surprisingly difficult to swallow, and this dvd is surprisingly difficult to watch.

Enjoyable, Thoughtful, and Personal
People often chasitze Ani Difranco for being too preachy of an aritst. I find that funny when the majority of songs that she creates are the reason that we all are fans of her. These songs have the same message she mostly talks about in Render, so I assume it's that most of Ani's fans only like to hear her opinions when there is a guitar playing along. I don't think that's fair.

With Render, Ani Difranco takes you into what she experiences by touring with her band. You see her extended family, and you see her diligent work ethic and devotion to her craft. It's a film showcasing her and her beliefs, so if people cannot accept that, then they shouldn't have bought the DVD in the first place. After all, the DVD says directly Spanning Time with Ani Difranco, not Ani Difranco live in Concert (although I would be excited if she ever decided to release a DVD of that stature).

Also, I personally like most of the songs on the DVD, to the person that called them B-Sides. In fact, My IQ is one of my favorite poems by her, and Overlap is one of my favorite songs. Besides, the most important thing about this DVD is the overall impression, which I think is shown very well. Regardless of wehether or not you agree with her politics, this DVD shows them well researched and in a manner that is obviously just her voicing her opinion based on the things she's learned. To the person who said "why does she say don't judge people for their worst moment in their lives." I didn't see you complaining about the song "Fuel" on Little Plastic Castle, so I don't know why you're suprised she's against capital punishment. You get to get inside the mind of Ani Difranco, a compelling mind at that.

And while I don't agree with her not liking people to sing along at her shows, if you've been to her shows the people sometimes get out of hand and distracting. She's not a popstar, she's a folk singer so we don't want to see her dance and put on a circus like extravaganza. We want to hear her play, therefore Ani is valid for not wanting distractions so that she can do her best job live. I've seen her twice; she doesn't disappoint!

Everyday silence meets Ani DVD soundtrack...antics ensue..
I bought this dvd not knowing what to expect, really. I didn't know if it would be a structured sort of step-by-step dvd of her concert with little background video, or a documentary of pre-show preperations with very little music. Happily, it was a mixture of both, showing clips of Ani playing on stage and her doing her every things, like painting her nails and mixing her own music at Righteous Babe Records. If you're not a huge Ani fan then sitting and watching the dvd will probably grow boring quickly, but its nice to have in the background while surfing the web or some other attention-commanding activity.

Hard Won Beauty and Grace
I strongly disagree with the reviewer from Aberdeen, WA. I have watched this DVD twice and found it to convey Ani's illuminating spirit, raw power, and unorthadox grace. We all have to pick our battles and use our assigned gifts to enable a sense of change in our private and public lives. I found Ani's commentary on her hometown, the legal system, and even the relationship she has to her music all aspects of her deep-rooted sense of social responsibility. At no point did she yell or be disrespectful to her audience, coworkers, or interviewers. I am slightly irritated that so many seem to confuse Ani's communication of self-resolve with adolescent rebellion. One of my favorite aspects of Render, is when it dips into the more tedious, unglamourous moments of creating music (on stage and in the studio) and being able to witness Ani's professionalism and self-discipline when few others are around.
I highly recommend this DVD to those who appreciate Ani as a self-made woman (not deity) who venerates life and the ability to affect positive change.

Not what I expected
I thought this would be more of a music and concert DVD. Instead It was a diatribe on Annie's radical left wing politics. She is a very talented singer, songwriter and guitarist and she is certainly entitled to her opinions, but the film would have been much better if she made her points in her songs. At some point you get tired of being preached to. ... Read more

Description

Described as "possessed, "frightening," and "brilliant," Nadja Salerno-Sonnenberg has either enraged or enraptured critics while earning herself the nickname "the bad girl of the violin." Academy Award® nominee Speaking In Strings explores the controversial and fascinating life of this funny, fearless, irreverent, and world-renowned musician.A deeply private look at the woman behind all the accolades and controversy.

DVD Features: Nadja Salerno-Sonnenberg Biography; Docurama Previews; Interactive Menu; Scene Selection ... Read more

Reviews (14)

Nadja Rocks
This film, while giving the impression of exploring NSS's turbulent life and her continuous metamorphosis to a better version of herself, actually emphasizes her enigma. And what's more interesting, you do not realize this until you watch the movie again. P>Okay, maybe it's just me. But NSS's "existential crisis" was triggered by a love gone wrong, and you have to take her word for it, but you don't know much more about it. What kind of love could bring this brilliant person (or anyone else, for that matter) so much pain and desperation? That part seems to be held back on purpose, and its absence was very obvious. And then, also, maybe it's justme, but you just want to reach out and give the big kid inside this prodigy a big hug...

The editing was brilliant - you have to watch the movie more than once to get the chronology in order (if you want to read into it more than necessary, as I do) and to understand NSS' evolutions. At the very least, the movie makes you appreciate classical music as a visual performance (rather than merely audio). Although when NSS plays that violin, you can just close your eyes and listen to her music - it's magical.

In the end, you feel you know NSS a little bit more, and you almost feel guilty for watching this very personal movie and intruding into her private life. NSS - despite the obvious blank spaces in the movie - is as transparent as a person could be. She fills in the spaces for you. And you cannot help but cheer her on whenever she takes that bow.

I am ready for the SEQUEL!

Nadja Rocks!
You have to watch this movie more than once to hear the words spoken in strings. If you are a classical music critic, this movie is probably not for you, because it tells a story of a genius possessed, damned, and redeemed. It gives you an insight into Nadja's continuous metamorphosis into what she is now. Her honesty almost makes you feel guilty for having invaded her privacy by watching the film.

But you watch it after the first time and you see beyond the tough girl, world-famous musician that we think she is. The film, despite its marvelous editing, leaves one thing out - The Heart - the forces that propel NSS to the heavens and throw her back to earth. And then the absence of this huge thing - loves lost and loves gained - becomes so obvious. Fortunately, the answers lie not in the pictures or words, but the nuances. As I said, the editing is very CRAFTY. You have to read between the lines and hope that there is s SEQUEL somewhere.

At the end of the film, you just want to reach out and give this big kid a big hug, because despite the accolades, you know that she yearns for the same things you and I do.

Found it lacking
This documentary seems to be more about Sonja the person than about Sonja the artist. Maybe the two are inseperable, but I was left wondering what a sick cat, alligator hunting, or a hot air balloon ride has to do with playing the violin. We're deluged with stories of her near self amputation of her left hand pinky, her father's abandonment, her chain smoking, her stalker, her suicide attempt, her mysterious failed "romance" (not too hard to read between the lines here), and her tomboy childhood in New York, but left wanting for more information on her musical background. It seems that this is more about a tormented soul who plays the violin than about a violinist who has personal demons to combat. A more fitting title might have been Nadja Salerno Sonnenberg - A Study in Manic Depression.

The quality of the video is less than professional. Much of it looks as though it was shot with a camcorder back in the 80s. The audio quality isn't much better, and the audio mix is horrible. I had to turn the volume up to a ridiculous level to hear. The only extras you get on the DVD are a short bio on NSS, a list of credits, and promos for other videos. The producers missed a great chance here to offer the viewer a quality performance video with no commentary.

Having said all of that, I still give the documentary 4 stars because of the superb playing that is presented. Several excerpts of Sonnenberg playing Tchaikovsky, Sibelius, Paganini, Shostakovich, Bach, and Mendellsohn are included, both in performance and rehearsal. There are also plenty of clips of her interacting with chamber music members, which is rare for an artist of her magnitude. You can't deny her enormous talent, even if her presentation makes you uncomfortable.

Breathtaking!!!
After catching part of this documentary on HBO, I had to go out and bought it.
Not only is Nadja one (if not the most) talented violinist I have ever heard but the documentary drove me so close to her that you I felt enchanted by her music. She is an amazing musician and even more extraordinary woman.
The documentary allows you to experience all the pain, stress and glory of being a classical musician. Nadja, you are Breathtaking!

Talented and Troubled
I watched this movie with a sense of awe I have not felt for any other musician. Not only does Nadja Salerno-Sonnenberg have a great sense of humor, she if overflowing with creativity and pure sassiness. Beneath her animated surface there also seems to be a hurricane of emotions which finds its release in her dynamic musical career.

It is as if Nadja becomes the music she is playing or is it just that the music possesses her? She is intense in her original interpretation and hauntingly expressive style. The music does not seem to be coming from the violin, but from deep within Nadja.

You have to ask yourself why anyone so talented and filled with sensitivity would consider ending their life. Especially when you are one of the world's preeminent violinists.

I believe personally that very creative people can also be struggling from a deep depression or unfulfilled longing of the soul. While Nadja sought obvious release through her playing, I think writers find the same expression through words. Both can alternate between utter hopelessness and extreme creativity. At times writing and music almost seem to be "born of pain."

What is so powerful about her story is how her mother tells her it takes courage to be happy. How true! It is far easier to give up in light of your circumstances. It takes a deep inner strength and sense of hope to continue in life when you would rather give up. Yet what a talent she has. While her talents were unquestionable at the time, her talent for living still needed to be developed. She had a passion for music, but no passion for life.

Not only do we learn how Nadja's father abandoned her family when she was a very young child, we also learn about her regret of never meeting her father. It seems from what she says in this documentary, work was first in her life and she put health and love second and third. She might be interested to know that smokers have a higher risk of developing depression. In the movie, she seemed to be a chain smoker.

"Cries of the Heart" by Ravi Zacharias might be helpful for anyone going through what Nadja seems to have experienced. "Manic Depression and Creativity" by D. Jablow Hershman discusses Beethoven and other great talents through the ages. The Omega-3 Connection by Andrew L. Stoll would also be worth a read as nutrition is always important.

Where does the love come from when you can't supply it yourself? What makes life worth living when even your own amazing talent isn't satisfying the longings of the soul?

Nadja says she believes in God, but at times he seems really busy. There is definitely a difference between knowing there is a God and having a relationship with him. Or at least a reason for living that goes beyond this temporary existence.

This musician's life shows how material success and fame means little when maybe what we all really want is love and a happy healthy life. Not to mention hope in this life and hope for the life beyond.

I truly hope Nadja has found peace and ways to deal with the sheer explosion of creativity surging from her very soul.

An eccentric, wild and unorthodox story of a musician's passionate existence.

TheRebeccaReview.com ... Read more

Description

Mario Lanza did more to bring classical music and opera to the masses through the popular art of movies than anyone else. His unique tenor voice was known to millions through such hit films as The Great Caruso and The Toast of New Orleans, and on such chart-topping records as "Be My Love." The chubby "singing truck driver" from Philadelphia became a Hollywood legend, only to be destroyed by his own excess. In a brief twelve years, Lanza went from being a star to an overeating has-been. He died tragicaly at the age 38 alone and near penniless in a diet clinic under mysterious circumstances. Through clips of his popular recordings, and from interviews his story is now told. This revealing video profile presents the highs and lows of this remarkable performer. Video hosted by Placido Domingo. 1983, color, 70 minutes. ... Read more

Reviews (6)

What could have been?
not really -but what was, to the listener we heard a voice that can only be described as magical. had he been lost to opera and the "elite" would the likes of us have heard this magnificent voice-i doubt it. this man had it all and he shared that magic to millions -and still does. i was a mere 11years young when i first heard "Lanza" and now 50years later he can still reduce me to tears.no other tenor has done that before or since what came out of this dvd for me was that yes he was used by many -but loved by millions and that will continue no matter what was said by some twisted individuals because that voice will live on as each generation passes-i certainly do not think that the programme was trash indeed i felt quite emotional watching it.long may programmes be made about this fabulous artiste he deserves to live in our memories.

THE MOST NEAGTIVE MOVIE ABOUT LANZA I HAVE EVER WATCHED
This is a terrible "tribute" to Mario Lanza. All this DVD did was take out the bad things about Lanza and show them off. It made the impression that the only "good" thing about him was his voice. NOBODY IS PERFECT. So why "glorify" it. They never show the good in him. There is allot more good in a person then there is bad. Hollywood ruined him, and he fell for it. Yes, he did do some bad things but nobody's perfect. Are you perfect? I am not. He IS the second greatest tenor next to Caruso. This movie doesn't deserve to be on a DVD, in stead it needs to be in the trash. (The 2 star rating I gave this "movie" is for the acting.)

Opera made Popular
If there ever was an artist who made opera reachable to anyone was Mario Lanza. His films made opera familiar to those people in countries not having an opera tradition. I can be a witness to that from the Dominican Republic of the 1950's. This video shows Lanza and his life. When a supermega star like Placido Domingo decides to become the voice of this project then you should realize the greatness of Lanza. I read a book on the life of Jussi Bjorling and is interesting to read about the friendship and respect this other megastar had for Lanza. This video is a must for the new generation of opera lovers or curious so they know who was the generator of opera as a more popular art form years before the three tenors. Juan Mansfield

Fine documentary
Host Placido Domingo does his idol proud in this long-overdue documentary of Mario Lanza. Made in 1983, the doco includes interviews with numerous Lanza co-stars, friends, family members & associates: Kathryn Grayson, Zsa Zsa Gabor, Anna Moffo and conductor Peter Herman Adler, to name just a few. All are unanimous about one thing: that potentially, at least, Mario Lanza was the American Caruso.

Backing up this assertion are some well-chosen operatic clips from six of Lanza's seven movies, including a heartrending Vesti La Giubba from For The First Time, which movingly concludes the documentary. (Inexplicably missing, however, are excerpts from Serenade, vocally Lanza's finest film.)

There are also a number of rare TV appearances and newsreels that provide titillating glimpses of the man.

The doco makes an honest effort to convey the essence of the man, and it largely succeeds. I would, however, take the tabloid claims that Lanza died as the result of a Mafia "hit" with a large pinch of salt! This is one aspect that should been dealt with more objectively.

All in all, a fascinating introduction to a one-of-a-kind vocal genius.

A decent biography but not as much fun as his films
Warning: The tape being reviewed here is the 1983 biography of "Mario Lanza: The American Caruso" and not the 1951 feature film "The Great Caruso" starring Mario Lanza as the previous reviewer claims. The Hollywood musical star of the 1940s and 50s was born Alfred Cocozza and while this biography traces his success with films and records it also plays straight with his drinking and eating binges until his sudden death in 1959 at the young age of 38. This biography tries to deal with the persistent rumors that Lanza was killed by the mob because he never paid back Lucky Luciano, who reported had financed Lanza's career, but in the end there is mere suspicion rather than hard evidence. Watching this film will probably make you wish you had rented "The Great Caruso" or "The Student Prince" instead. The clips of Lanza singing will only whet your appetite to hear more. ... Read more

Reviews (2)

Too simplified-wasteful overview
This DVD was a big disappointment. It does not convey "why" Louis Armstrong was so great. The documentary jumps around a lot and sometimes misses big parts of Armstrong's life. In fact there is very little Louis Armstrong on this DVD. If you want to know more about Louis Armstrong I'd recommend Gary Giddins' "Louis Armstrong: Satchmo" or Ken Burns' "Jazz" both on DVD. "The Wonderful World of Louis Armstrong" does not show the the magic or genius that was Louis Armstrong. Pops is Tops!!!

Superior
I have seen many music DVD but Louis Armstrong is really different that others. He is a real classic and don't miss to listen and watch him. ... Read more

Reviews (2)

ELVISPRESLEY : The Back StoryVOL 1 and 2
Being an Elvis fan I try to purchase any new Elvis dvd release.
This dvd THE BACK STORY VOL 1 & 2was a big disapointment.It is an exact copy of the dvd ELVIS THE MISSING YEARS the only difference is that the this dvd is made into a 2 volume set.
Your better off buying ELVIS THE MISSING YEARS which has a bonus audio cd and is cheaper.
If I had known this earlier I would not have bought this 2 volume set.

ELVISPRESLEY : The Back StoryVOL 1 and 2
Being an Elvis fan I try to purchase any new Elvis dvd release.
This dvd THE BACK STORY VOL 1 & 2was a big disapointment.It is an exact copy of the dvd ELVIS THE MISSING YEARS the only difference is that the this dvd is made into a 2 volume set.
Your better off buying ELVIS THE MISSING YEARS which has a bonus audio cd and is cheaper.
If I had known this earlier I would not have bought this 2 volume set. ... Read more

Reviews (3)

A GOOD OVERVIEW OF DICK
If you have to choose between this visual document and the biography released in november,don't hesitate to buy the video or dvd. Why? Because it's the facts that are featured here and not the gossips of which no word should be said at all. The daughters of Mr. RODGERS: LINDA and MARY talked about their father's complex personnality and say along the way that the music was more emotional than the man. The portrait of LORENZ HART is also interesting; Mr. RODGERS's patience with LORENZ shows the compassion of a man who knew the value of a partnership. Personnaly, because I am a huge RODGERS and HART fan, I really liked this segment a lot. Those were the days of the AMERICA we like best, between the two world wars. So many of AMERICA's greatest achievement in music happened during those years. 90 minutes of RICHARD RODGERS who was the greatest composer of his time is certainly worthy of your time. This visual biography was first shown on PBS last autumn.

Almost perfect
The few other "reviews" seem more paeans, eulogies to Rodgers, all deserved, but with little about the documentary, which I liked. Larry Hart was my first hero. Keats my second. But that's beside the point. I consider Richard Rodgers the finest composer (and he himself preferred the word "composer" to "songwriter") America has yet (and it seems, will ever) produced. After Hart died and Hammerstein took over, the life and lively interest seemed to go out of Rodgers' music, it seemed to become bland and simplistic, consider his chords as well as his tunes. But in his first show after Hammerstein died (also young, like Hart, though not AS young), the magic returned. This of course was "No Strings" for which Rodgers wrote his own words, and very good ones I thought. The plot, incidentally, is a love affair between a black woman and a white man, and the show was driven out of the south. (America is a very Christian country, as you know, especially in the south.) I saw this show live in SF, and it is my favorite Rodgers' score. Hart, incidentally (I don't remember whether the film stated this) was homosexual. I especially wanted to mention this and the plot of "No Strings". Bigotry should stop where another person's life begins. In the film, it was with sad horror that I saw Rodgers in his dotage so sick and ravaged he didn't even look human. But consider all those wonderful years that came before, genius, songs, work and more work. And he loved it. I had only a few, very few, quibbles with this abbreviated documentary. Mary Cleere Haran sang snippets of Rodgers & Hart songs (frequently), and she changed words and tunes so grossly it was enraging. And I do not like Frank Sinatra. No one should. Ella Fitzgerald recorded a collection of Rodgers & Hart songs (it's on CD, don't buy it), but alas she changes words and music so frequently it is very unhappy. She also, incidentally, recorded a Gershwin collection (also on CD) which, if you like George and can put up with Ira, you might enjoy, she sings all the tunes the way they were written. Her doo-wah-dee-wahs, stylizations and lyric changes are things I just can't handle (not from any singer, Streisand, given the reins, does it too), but when she sings straight, there is simply none better. I do NOT think Ella does this out of conceit or arrogance, it is just her style. It's been said that Rodgers wrote only one jazz tune ("Red Hot Momma" for "Pal Joey"), but as the film amply demonstrates, his tunes and chords fit jazz like a glove. Hart is simply the best lyricist the English language in any century and NOT excluding Byron has ever produced. And Rodgers the best 20th Century American tunesmith. The film, very unfortunately, was too short, was forced to glib over too much and flatly omit tons and tons of things I would have liked to have known or reveled in. And I would, of course, have infinitely preferred more Hart, although Hammerstein got no more than Hart did, which I was happy about. But (sigh) it was deeply informative and entertaining for what it could accomplish, and I would massively recommend it to anyone remotely interested in the subject. Incidentally, many years ago I saw a British (why is it always the British doing this?) bio/retrospective on Lorenz Hart which was wonderful and which I would very much like to see again and to own a copy of.

America's Finest Composer
Simply stated, Richard Rodgers is America's finest composer. In our history, no other composer's music equals the consistent and prolonged quality, innovativeness, range, and sublime beauty of his compositions. Rodgers exquisite, unforgettable melodies are crafted with such subtle ingenuity and sophistication that they never lose their freshness or their appeal.

Rodgers' musical genius was matched in two legendary partnerships, the first with lyricist Lorenz Hart, and the second with librettist-lyricist Oscar Hammerstein II. Rodgers' collaboration with these two gifted men elevated and transformed musical theater into a true and distinctive American art form.

There is a knee-jerk tendency by a few so-called musical "experts" to site Gershwin as the greatest American composer. But discerning authorities and audiences know better. The ENTIRE BODY of Richard Rodgers' work stands the test of time better than Gershwin's, or for that matter, better than the music of Berlin, Kern, Porter, Arlen, and Carmichael, all gifted composers.

Rodgers' music is universally admired and respected generation after generation amongst all kinds of audiences. Few, if any of his compositions sound dated which cannot be said for a substantial portion of Gershwin and other composers' music.

Rodgers' music is written so brilliantly that it seems organic, as if nature itself had perfectly strung together a series of notes which sound no less than heavenly, and which seem as if they could not have been structured in any other way. In some of Gershwin's music, particulary "An American in Paris" and "Porgy and Bess", the music seems stilted, grandiose, even pretentious.

You never get that feeling with a Rodgers' composition. His music always has a quality of lightness, fluidity, and sponteneity something missing in portions of Gershwin's music. Some of Gershwin's music has a leaden and/or redundant aspect which is not found in Rodgers' works.

The breadth of Rodgers' range as a composer was limitless. Here is a man who wrote music perfectly suited to shows as diverse as "Oklahoma", "Pal Joey", "Carousel", "Sound of Music", "Cinderella", "King and I", "No Strings", etc. The list is impressive.

The documentary "The Sweetest Sounds" serves as a brief, but informative look at Rodgers incomparable career. It also provides an anecdotal analysis of the handsome ladies' man and the complex, neurotic person that Rodgers was. Rodgers could be a faithful friend and ally, but he was also a demanding perfectionist who could also be confoundingly emotionally distant.

Regardless of Rodgers' human frailties, the contributions and innovations that he made in popular and theatrical music are unsurpassed. Richard Rodgers is a genius, an artist, and an icon the likes of whom we may never see again. ... Read more

Reviews (3)

Elvis fans will be disappointed!I know!
This dvd contains the same information as Elvis - the missing years!If you want a better dvd with more information, buy that one.Very disappointing.

Rare footage for deep fans
This DVD concentrates on perhaps Presley's least reported period - his Army years. There are several people here to reminisce about Elvis from 1958 to 1960, when he was stationed in Germany. Too bad that the names are not provided throughout the tape. The afficionado/historian might enjoy guessing who is being interviewed. I recognized the great Charlie Hodge, Elvis' close friend and musical mentor. His story about Elvis turning down the chance to crawl out the snow and visit the Vatican is very touching: Elvis was not about to abandon his fellow Servicemen.
The musical soundtrack features an Elvis imitator.

Rare footage for deep fans
This DVD concentrates on perhaps Presley's least reported period - his Army years. There are several people here to reminisce about Elvis from 1958 to 1960, when he was stationed in Germany. Too bad that the names are not provided throughout the tape. The afficionado/historian might enjoy guessing who is being interviewed. I recognized the great Charlie Hodge, Elvis' close friend and musical mentor. His story about Elvis turning down the chance to crawl out the snow and visit the Vatican is very touching: Elvis was not about to abandon his fellow Servicemen.
The musical soundtrack features an Elvis imitator. ... Read more

Description

Combining performances, interviews and archival footage, Artist of Life presents a rare look into the life of the multi-talented and multi-faceted Barbara Hendricks. ... Read more

Reviews (1)

Barbara Hendricks - La Voix si Belle
This DVD gives us a special look into the life and behind-the-scenes workings of Barbara Hendricks- one of the worlds most enchanting (opera) singers. I appreciate that this DVD documents her rise to Paris fame from her humble Arkansas roots. She is truly a magnificent woman in so many ways, from her voice, to taking on formidable challenges with grace, to her beauty, to her visionary path, that I really don't know what to say... but this DVD gives us a unique glimpse into this Diva's stunning voice, mind, career, and mystique... ... Read more

Amazon.com

This American Masters production celebrating Isaac Stern is more a profile of the man than the musician. Fans hoping to hear Stern performing will have to settle for the briefest snippets of fiddling: a bar or two from Mendelssohn, a fragment of Rimsky-Korsakov, a taste of Beethoven. Though each of these begins enticingly, they all quickly fade into the background, little more than aural wallpaper behind the comments and testimonials from such notables as Pinchas Zukerman, Yo-Yo Ma, and Itzhak Perlman--as well as some less-expected commentators such as Gregory Peck and Jimmy Connors. But the portrait that all give of this marvelous octogenarian is almost as dazzling and multifaceted as hearing him play. After all, master violinist is only one of the hats Stern can wear with aplomb. There's also the flashy celebrity who provided the music for Hollywood films like Fiddler on the Roof and Humoresque and who could share the stage as easily with Jack Benny as Eugene Ormandy; the musical emissary who sought to bridge cold war divides with music, touring the Soviet Union and communist China as soon as he was allowed (as recorded in the 1980 documentary From Mao to Mozart); the beloved teacher, demanding but genuinely respectful toward young performers; even the hard-driving fundraiser who kept Carnegie Hall from being torn down.

Through it all, Stern has carried himself with a no-nonsense humility, born of his profound love of humanity and devotion to his craft that is never less than inspiring. Footage (again, far from enough!) of Stern performing in Israel during the Gulf War, ignoring the whine of the air-raid sirens and the anxious surreality of an audience decked out in their gas masks, rapturous as he unfolds the serene music of Bach, raises the inspirational to the magnificent. --Bruce Reid ... Read more

Reviews (2)

Worthwhile.
This is a good DVD about Stern's life. It is greatly aided by interesting comments made by a varied group of famous people, violinists and otherwise. These include Eugene Istomin, Jean-Pierre Rampal, Pinchas Zukerman, Zubin Mehta, Jack Benny, Sarah Chang, Gregory Peck, Henry Kissinger, Shimon Peres, Itzhak Perlman, Yo Yo Ma. I watched this DVD after I had seen the excellent one "From Mao to Mozart" which has more depth and many more great extras (this has no video extras). Otherwise I might have given it 4 stars.

Help!
This is a plea for a DVD release of the Oscar-winning documentary: From Mao to Mozart: Isaac Stern in China (1980). The documentary recounts Stern's famous visit to China in the aftermath of the Cultural Revolution, during which the listening to, and performing of, Western classical music was a capital offence.

(It's now 2002 and all's forgiven! The DVD is finally here and it's even better than the original since it contains footage of Stern's reprise visit to China in 1998. The producers managed to track down some the children Stern trained in 1979. We see them practicing again with the master, this time as adult professionals.

Stern's earlier insights into the true abilities of his proteges are revealed. In 1979 Stern asked one struggling child violinist to sing, rather than play, a difficult passage. The child grew up to become a professional singer. How did Stern know?!

It was very interesting to contrast Stern's teaching style of children with that of adults. With the children he was most forgiving; almost indulgent. With adults he was unforgiving; almost harsh.

I formed the view that Stern was a man of great compassion. His students, young and old, desired as much instruction as could be absorbed in the short period of time each had with the master. Stern maximized the learning, based upon the age, experience and psychological fortitude of each of his tutees.

PS You get one last glimpse of Stern by buying/renting an entertaining popular film starring Meryl Streep entitled Music of the Heart.) ... Read more

Amazon.com

This look at the legacy of Marvin Gaye passes over the great R&Bsinger's childhood and Motown career in favor of his turbulent final years,including exiles in Hawaii and Europe, the making of Midnight Love, his addiction tococaine (and resulting paranoia and depression), and his tragic murder (shot byhis father during an argument). While his final public performance, a renditionof "The Star-Spangled Banner" at 1983's NBA All-Star Game, is not included, hisacceptance of a Grammy from Grace Jones and Rick James almost makes up for it,and there's plenty of other fascinating material: interviews with family membersand band mates, rehearsal footage, and live versions of hits from "How Sweet ItIs" to "Sexual Healing."While Behind the Legend fails to chart his pathto stardom, it allows Gaye's music to do the talking--and he was never moreeloquent than when at the microphone. --Kathleen C. Fennessy ... Read more

Reviews (2)

Is there a Comparable from the Winds?
I hesitated because I already have one DVD played by Galway and, it's rather expensive.

Anyway, I bought it. But I couldn't finish it in one go, not just because it's rather long, but becasue of it's primitive production. The first part wasn't too good. The footage was as bad as one could imagine and so was the photography. Don't expect to see Rampal's embrochure, the picture quality is so poor that you have to use your own imagination to figure out what exactly it was. Most of the time, we have too wide an angle with only a few close-ups. And when we do, it's just a profile and then shot from such an angle (e.g. in Couperin for no apparent reason, and in Haydon, in order to cover the harpsichord ) that we only have 3/4 of the profile, about 1/3 or 1/4 of his mouth! There are some nice shots from Bach though. Anyway, the support Rampal got from the orchestra also leaves much to be desired.

BUT, if you want to have a glimpse of this Maestro, you dont have much choice. There aren't much devilish technique (in the narrow sense), not even in his cadenzas. Some beautiful tonguing, yes and of course an immense sense of musicality. He may not be as expressive as Schwarzkopff, one of the century's top sopranos, and it's as intriquing as Szryng, if not because of the limitations of the instrument. He is so close to any of the two.The colour of his tone is such that it has a life of it's own. And in different piece, you get almost a completely different tone as though it's a different kind of instrument. And the secret of this Maestro, other than his musicality, lies in the absolute control of his breath.

So the result, the second time I went back to it, I finished it in one breath. A whole world of difference from any other flutist in film so far. Wood wind, or any wind players or even vocalists or string players won't want to miss this great performances.

The sound is however barely acceptable. 5 stars, despitepoor picture qualities.

Is There a Comparable from the Winds yet?
I hesitated because I already have one DVD played by Galway and, it's rather expensive.

Anyway, I bought it. But I couldn't finish it in one go, not just because it's length, but becasue of it's primitive production. The footage was as bad as one could imagine and so was the photography. Don't expect to see Rampal's embrochure, the picture quality is so poor that often you have to use your own imagination to figure out what exactly it was. Most of the time, we have too wide an angle with only a few close-ups. And when we do, it's just a profile and then shot from such an angle that we only have 3/4 of the profile with less than 1/2 of his mouth! There are some nice shots from his Bach though. Anyway, the support Rampal got from the last orchestra also leaves much to be desired even though the first one is much better.

BUT, if you want to have a glimpse of this Maestro, you dont have much choice. There aren't much devilish technique ( in the narrow sense)here, not even in his cadenzas. Some beautiful tonguing, yes and of course an immense sense of musicality. He may not be as expressive as Schwzarkopff, one of the century's top sopranos, and it's a tiny bit less intriquing than Szeryng, one of the most lyrical violinists of the century, all because of the limitations of the instrument. But he is so very close to the two of them.The colour of his tone is so warm that it has a life of it's own and that in different piece, you get almost different tone as though it's a different kind of instrument. And the secret of this Maestro, other than his musicality, lies in the absolute control of his breath.

So the result, the second time I went back to it, I finished it in one breath. A whole world of difference from any other flutist in film including Galway. Wood wind, or any wind players or even vocalists or string players won't want to miss this great performances.

The sound is however barely acceptable. 5 stars, despitepoor picture qualities. ... Read more

Amazon.com

This too-brief but informative and insightful documentary was finishedsoon after Maestro Solti's death in 1997 at age 85, a title card informing usthat the very last interview was filmed five days before he died. In only 90minutes, Solti's extraordinary life and career are vividly recounted, from hisupbringing in Austria to his clash with the Nazis while in his late 20s; fromhis days leading the Royal Opera House at Covent Garden to his shaping of theChicago Symphony Orchestra into one of the world's greatest musical ensembles.Solti himself engagingly discusses his techniques and musical influences(including his analytical account of Richard Strauss as a conductor) whilecolleagues like soprano Kiri Te Kanawa and director Sir Peter Hall and his widowLady Solti give their own personal takes on the man. The Making of aMaestro is a richly satisfying glimpse at a seminal musical artist. -- Kevin Filipski ... Read more

Reviews (3)

Uninspiring
Just a brief biography as opposed to memoirs of a great conductor.

There isn't any discussion on any composer, nor any musician alive or dead, nor any orchestra at all. He only barely touches on music. About Bartok he only told us that he had taken 6 weeks lesson from him and that Bartok, unlike himself, was very soft spoken. That is it!

Otherwise, on music, all we could see is how he marked on the score and some short clips of him rehearsing and conducting while in performance, plus the fact that he pays much attention to rhythm, one of the only two or three basic elements of music, something which so many musicians including singers ( i.e. Fischer-Dieskau, as per Menuhin ) who either don't know enough or else must have forgotten. We are also told how he tamed Chicago Symphony Orchestra. We can also see that music has really brought him great happiness. Yes, we were brought to some of the great music halls and also the Budapest Academy of Music, the one found by Liszt. So they use Kawai grand pianos... Otherwise, in this DVD there is not much inspiration, neither insight nor depth, almost the same level as "Oistrakh, Artist of the Peole" and categorically inferior to Menuhin's or even Kissin's "Gift of Music".

It is however not boring to watch it as the visual effects are quite good, albeit that Sir George was very old and despite that he spoke with a heavy accent. But I bet I wouldn't go back to it unless I really have nothing worthwhile to do.

The Maestro Speaks!
Another must for all Solti fans as well as those who want to know more about this unique conductor. Sometimes brief, the various segments trace a quick yet interesting picture of this extrodinary musician and the events that put him center stage in the classical music world.

Visual version of Solti's "Memoirs"
This is a competent and occasionally captivating profile of perhaps the most famous conductor of the second half of the twentieth century. Sir Georg Solti's life was inspiring and dynamic, filled with musical experiences spanning eight decades. For this reason, I agree with one reviewer that the film feels "too-brief." But the brevity of the piece helps to keep the material as dynamic as the man himself.

The documentary is basically divided into five segments that flow into one another seamlessly: Solti's early life, up to and including his stint with the Munich Opera; his controversial engagement with the Royal Opera at Covent Garden; the historic studio recording sessions of Wagner's "Ring" cycle with Decca; Solti's encounters with composer Richard Strauss; and Sir Georg's later years with the Chicago Symphony. Of these sequences, I found the famous studio sessions to be the most interesting. As one would expect, interviews with family, friends and colleagues are liberally sprinkled throughout the program. Added to these are numerous location shots of several cities and their music halls, with a trip to the home of Richard Strauss as one of the highlights. Essentially, the film follows the same format as Solti's "Memoirs," which appears to have been worked on simultaneously. The maestro showed great timing to the end, for both works were finished very shortly before his death.

Though this documentary is obviously the work of professionals, it lacks the electricity of more creative minds. Nevertheless, the filmmakers managed to produce a fairly engaging film on a limited budget. It appears that a digital camera was used in the process; while the video quality is not film-like, it is generally very sharp and clean. The audio is pleasing, as it should be for material that is musically pregnant. There are no supplements included, not even subtitles. Captions would have been useful, as some in the film, including the subject, are occasionally hard to understand due to their accents.

Fans of Solti, and classical music in general, should be interested in considering purchase of this DVD. Those that have read his autobiography may want to pass, since the film covers little that isn't discussed in the book. Some who haven't may prefer to watch the film instead. In any event, this DVD respectably chronicles the life of a great musician. ... Read more