I guess I didn’t see this tour, because I would have remembered that stylish hat.
This is such a bangin’ show, with lasers and everything.
Electric (their previous album) was amazing, and then Super was kinda not. But they’re really leaning into the Electric feel (if not all the tracks). This show almost makes me like the songs from Super! And even the gruesome Electric track, Love is a booshwah concept sounds good here.
And Neil Tennant has been using autotune so heavily the last decade that it’s a relief to be able to listen to his real voice again for an hour.
This is a 4K remaster, but er, I’m sorting comics while “watching this” so I’m really enjoying the K-ness.
Very rock n roll.
Neil!
This guy is a good singer, too.
Joni!
Somebody!
I liked it! Even if I didn’t really “watch it” watch it.
But I’ve seen this before — it was among one of the first handful of movies I saw in the movie theatre. I’d seen all the Beatles movies, so I guess this was the logical next thing for my elder siblings to take me out to. I was ten, I guess?
I don’t really remember much from watching that time around, other than that it was… kinda magical? And re-watching this now, I’m thinking perhaps this played a part in me becoming really into going to live shows? Because this is so romantic in its way, and there’s no talking heads interrupting the performances. We get songs in full, and then perhaps somebody talks for a couple minutes, max.
It’s 90% live performance, and I really like that.
So I’m rating this on both almost forgotten nostalgia and just how you should film live shows:
I’ve seen the remake of this — by my favourite director, Douglas Sirk. It’s good! And strangely enough, Sirk has also redone another movie by John M. Stahl — Magnificent Obsession. Sirk’s version was better than Stahl’s, I think, so I’m wondering about this one…
… and whether the reason that Criterion released these two particular Stahl movies was because people remember the Sirk versions.
Man, that’s some drawn-on eyebrows.
No collar gap.
This is quite good! Louise Beavers is great, and of course Claudette Colbert is, too. The first third of this movie is wonderful — it’s snappy, fun rags to riches story that you can’t help love.
Then there’s the rest, and it’s… fine? The last bits drag, though.
I was mostly surprised by how little the Sirk version of this has in common with this version. His version of Magnificent Obsession is almost a scene by scene copy, but this movie has very little in common with the Sirk version.
I mean, it’s got “the concept of ‘passing'” in common, but none of the plot (except perhaps a scene or two). I wonder what the reason was — I think this plot is more interesting, really? I mean, the rags to riches bit; not the love story between Colbert and whatsisface.
