I'd be lying if I weren't skeptical, as from the outside looking in it sounds like a simple concert movie. And no matter how much one enjoys the music, the concept of a concert movie - filmed footage of artists performing, perhaps interspersed with shots of the crowd, and maybe snippets of interviews - aren't particularly appealing. All those aspects one would expect of a concert movie we can either get by being there ourselves, or obtain in other ways. A documentary exploring a concert, a festival, live music, studio sessions, and so on needs to have some special focus, be notably comprehensive, or be extraordinary and singular to really catch my eye and earn my favor. Or maybe I'm just too jaded from having seen poor recent examples, for at least where Michael Wadleigh's picture is concerned, I'm pleased that it's not JUST a concert movie. There's intelligence, sincerity, and craftsmanship to these hours that go far beyond simple "point and shoot" notions I've seen elsewhere, and 'Woodstock' becomes something more than something we just passively sit and watch or listen to. Whether one is an ardent cinephile, a huge fan of the artists involved in the watershed moment of culture, or just looking for a pleasant, rewarding watch for a quiet day, this feature might actually be a must-see.
Based on what information I had about this from the outset, at best I didn't know what to expect; happily, in fact it's everything that I was afraid it wouldn't be. We get to see wonderfully energized performances from musicians in their absolute prime, injecting undeniable vitality into material that 50 years on we may be otherwise familiar with only from passably acceptable but irrefutably sterile studio recordings. Even if a specific song doesn't entirely comport with our personal preferences where music is concerned, the wholehearted vibrancy in the act of playing or singing it live comes across with perfect fidelity. Just as was true with seeing The Beatles' last rooftop performance in1970's 'Let it be,' or instances of the Rolling Stones at the top of their game in 'Gimme shelter' from the same year, bands and tunes like Sha-na-na and "At the hop," or Richie Havens with his rendition of "Motherless child," pop with fabulous zest that even some of the most far-flung of modern artists, far removed from the rock 'n roll of the 60s, just can't compete with. As an even better example, consider Joe Cocker's rendition of "With a little help from my friends" - practically "traditional" and "standard" by the sensibilities of the twenty-first century, we see this classic brought to life with a spirit that I can only describe as zealotry. I've attended hard rock and metal shows where the folks on stage couldn't even dream of comparing to what we watch here, and of everyone, among so many others, Cocker is an exquisite illustration of exactly that.
We're just getting started, though. It seems important to emphatically cite several names in addition to Wadleigh, including Malcolm Hart, Don Lenzer, Michael Margetts, David Myers, Richard Pearce, Alfred Wertheimer, Jere Huggins, Thelma Schoonmaker, Stanley Warnow, Yeu-Bun Yee, and (of all people) Martin Scorsese. These individuals were paramount to the success of 'Woodstock,' and the brilliance of the viewing experience, because the cinematography in this production - and the stupendous choices of editing, including split-screen presentation - are honestly just as lively and invigorating as the music itself. These facets elevate already excellent, exciting performances to even higher echelons of bewitching artistry, entertainment, and fulfillment, and accentuate the momentousness of each act in succession. In and of themselves the cinematography and editing are rather enough to make this worth exploring; how often can we say that about any movie? Even when the musicians aren't the focus, 'Woodstock' can claim tremendously gratifying mindfulness and attentive care in the fundamental construction of the feature, and in how it was filmed. As if it wasn't enough for Wadleigh to have access to one of the quintessential events in cultural history, he and his collaborators tackled the project with skill, professionalism, and passion that even the narrative fiction side of cinema can't always claim.
And we're still not done, because this is more than just an exceptional "concert movie," and it isn't just a terrifically well-made slice of cinema. 'Woodstock' is a distinct, remarkable moment in time, captured on film for all posterity, and Wadleigh captures it all from start to finish. The preparation of the field and the stage, the reactions of Bethel locals, aerial footage showcasing the mess of vehicles in the area, the preposterous logistics (or lack thereof), shots of the enormous crowd and many of the individuals therein, all the comings and goings and little ways that people spent their time during that long weekend, the rain, the mud, the pure essence of celebration, love, and peace: we see all of it. We even get acknowledgement that, yes, for as surprisingly well as the whole event went off, there were still instances of people getting sick, or hurt, or overdosing, or dying, and supplies and facilities of all kinds were lacking. The sudden huge influx of people was in no few ways a nightmare that did impact commerce, and the ability of some folks to work or meet their needs. Woodstock was an should be remembered as the fantastic, one-of-a-kind happening that it was, but there's always a trade-off of some kind, and something can't come from nothing.
And all this, everything that Wadleigh shows us of all that those three days were, underscores that it was, truly, not just "once in a lifetime" but "one of a kind." The ever-growing encroachment of the evils of capitalism, expanding sociopolitical forces and bureaucracy, heightened and tightened standards of health and safety, and ever greater divisions between people (particularly for lack of an especial unifying factor) have all meant in the past fifty years that no attempt to recreate Woodstock '69 could succeed in the way that it did, with overwhelmingly positive vibes and responses, and without the corrupting influence of significant corporate involvement. Fifty years on, we must even reckon with the future of live music generally, and of destination festivals specifically, as looming environmental catastrophe means that the expenditure of resources involved in the execution of such events can no longer be taken for granted. As a result, Wadleigh's 'Woodstock' isn't just a concert film, and it's not just an exploration of a preeminent event - it's a time capsule, in the way that can be meaningfully said of very, very few pieces of cinema. In another fifty years, this will stand taller still.
Any feature of so substantial a length, of three hours or more, is already guaranteed to less than the widest of audiences. That goes double for documentaries, and if one isn't on board with the styles of music on display here, or with footage or frank talk of nudity, sex, and drug use, then suffice to say that maybe this picture is something to pass on by. But if none of these are obstacles in and of themselves, then ultimately Wadleigh's 'Woodstock' can only earn my very highest recommendation. My anticipation was at most middling when I first sat to watch, and I've been utterly blown away by what this actually represents. In literally every way this movie is altogether exemplary, nearly as peerless as its subject matter. From the opportunity to bear witness to those few days in August 1969, and footage of performances that puts to shame most live shows I've ever seen, to the immense genius and hard work of Michael Wadleigh and everyone else who was involved in the creation of this documentary, 'Woodstock' is quite simply a masterwork that isn't to be missed. However you need to go about it, this is well worth going out of your way to watch.
