Seven must-see rock and roll movies from the 1970s

As a child of the ’70s, I can vividly recall the electrifying energy that pulsed through the airwaves during those tumultuous years. The era of free love, anti-war protests, and groundbreaking music left an indelible mark on my formative years. Two movies, in particular, stand out as iconic representations of this epoch: Woodstock and Gimme Shelter.

Initially, rock and roll musical movies could generally be classified into two main types. The first was the revue, which frequently centered around influential disc jockey Alan Freed and included brief appearances by numerous early stars. The second category consisted of star-focused films, intended to capitalize on the immense fame of artists like Elvis Presley and the Beatles.

The pattern wasn’t novel; when silent films started talking around the late 1920s, early “musicals” often resembled variety shows, such as the second film to receive the Best Picture Oscar, 1929’s The Broadway Melody. As musicals evolved into more complex forms, they leaned heavily on stars like Fred Astaire and Ginger Rogers for much of their success.

Over time, starting a few decades back, the genre of Hollywood musicals expanded significantly, making it possible for a wide variety of themes – ranging from serious and thought-provoking to lighthearted and absurd, as well as both factual and imaginative stories – to be explored.

Seven can’t-miss rock films from the 1970s

In numerous aspects, the rock and roll musical mirrored a similar trajectory. By the year 1970, rock music had been making appearances in films for approximately fifteen years. It was poised for a breakthrough. While there were groundbreaking, thrilling rock musicals before 1970, and undoubtedly more to come when the new decade began, the 1970s hold a unique status in the chronicles of rock and roll cinema history.

As a lifelong fan of rock ‘n’ roll, I can confidently say that the 1970s was a golden era for the genre, and there were some truly outstanding movies made during that time that captured its spirit perfectly. Here’s my list of the best rock and roll movies from the decade, complete with six honorable mentions and a bonus pick to make it a baker’s dozen.

HONORABLE MENTIONS (these go in chronological order)

In the year 1971, the unconventional and humorous mockumentary titled “200 Motels” by Frank Zappa premiered. This film, filled with eccentricities, wildness, and at times, confusing narratives, appeared over a decade before “This Is Spinal Tap.” Notably, it starred Ringo Starr and Keith Moon, two individuals who would later make notable appearances.

1975 saw Tommy, born, expressing a mixed feeling towards The Who’s expansive rock opera, finding it disorganized yet impressive, a characteristic often associated with its director, Ken Russell. Known for his diverse filmography encompassing both classical composers and contemporary rock musicians, Russell also directed Roger Daltrey in the movie “Lisztomania,” where he played the titular role of Tommy.

Back in the ’70s, I was there, grooving to “The Song Remains the Same” (1976), one of those iconic concert films that ruled the second half of the decade. Guess what? It’s all about my favorite band, Led Zeppelin! This flick is a mix of raw and refined, with moments that veer towards the experimental. But hey, who needs perfection when you’re getting your fill of some killer tunes!

1978’s “The Buddy Holly Story” – Gary Busey received an Oscar nomination for his role in this biographical movie. Although he didn’t win, the film did secure the award for Best Musical Score. Maria Elena Holly, Buddy Holly’s widow, was part of the production process. While this provided the filmmakers with valuable insights into their subject, it could potentially limit their creative freedom. This might lead to a less intense final act, but overall, the movie remains a good watch.

Titled “The Rose” (1979), this film may not surpass the quality of biographical films like “The Buddy Holly Story“, nor does it explicitly reveal the real-life inspiration behind its characters. However, it offers an exceptional portrayal by Bette Midler, channeling a fictionalized version of Janis Joplin, making it a compelling watch for audiences.

In 1979, David Bowie declared what seemed to be his last live performance as Ziggy Stardust in D.A. Pennebaker’s concert film. However, it turned out to be his farewell to the Ziggy Stardust character rather than a complete retirement. Pennebaker was renowned for his work in “direct cinema,” a style we’ll delve into further later. His 1967 documentary on Bob Dylan, titled “Don’t Look Back,” played a significant role in shaping the genre of rock documentaries.

And now, with apologies to Europe, the final countdown…

Rock ‘n’ Roll High School (1979)

Back in the day, 1979 to be precise, RRHS felt like a whole new world for me as a gamer. It was a different kind of thrill, one that I couldn’t quite capture when I grew older. To be fair, it’s always had its ups and downs, but boy, was it ever fun! Compared to the depth of a play like Grease, which inspired its creation, RRHS is more like a casual arcade game – simple, enjoyable, yet not as profoundly moving.

Another source of inspiration for the Allan Arkush film was the well-known cult favorite “The Rocky Horror Picture Show”. From its inception, New World Pictures, created by budget movie mastermind Roger Corman, aimed to make “RRHS” a cult film. It was initially released as a midnight event, with the intention of attracting the dedicated fanbase of “The Rocky Horror Picture Show”.

P.J. Soles shines in her role as Riff Randle, an ardent Ramones fan who is determined to persuade them to record her song titled “Rock ‘n’ Roll High School.” It’s unverified if the character name “Riff Randle” was inspired by the character “Riff Raff” from The Rocky Horror Picture Show, but it seems plausible.

1. In the storyline, Mary Woronov delivers a solid contrast as the grim principal, Togar. As events unfold, the Ramones make an appearance – they’re unsightly yet endearing, captivating in their humility. And there will be an explosion or two. The music is excellent, featuring the Ramones and other artists, but it might not resonate much without context. But if you were a high schooler during that era, it would feel like a fulfillment of your dreams.

Phantom of the Paradise (1974)

Alright, I’d like to clarify that “The Rocky Horror Picture Show” won’t be on this list, so if you were here hoping for it, feel free to leave now. “Rocky Horror” was more than just a film; it was a cultural phenomenon. Watching the movie today without the live experience that accompanied its original screenings can be quite challenging.

The initial part is still quite impressive, but the latter part is nearly impossible to watch. Instead, I’d recommend checking out “Phantom of the Paradise,” a flop by Brian De Palma. This movie precedes “The Rocky Horror Picture Show” but followed the original “Rocky Horror” stage show.

Brian De Palma is a filmmaker known for his unpredictable, dynamic style, and the movie “Phantom” brims with cinematic vitality, despite its convoluted plot. De Palma often draws inspiration from various sources, so while this film is largely a rock ‘n’ roll adaptation of “The Phantom of the Opera”, it also pays tribute to films like “The Cabinet of Dr. Caligari” from 1919 and elements from Hitchcock’s “Psycho”. The finale combines aspects of “The Manchurian Candidate” and “Beauty and the Beast”, making for a truly captivating experience.

Not only does it boast fantastic soft-rock tunes, penned by none other than Paul Williams, a prolific songwriter who gives an outstanding performance as the villainous Swan, a record executive from the underworld (in more ways than one). For those intrigued, the film Phantom of the Paradise, amidst its chaos, offers striking insights into the state and future direction of pop music and popular culture in general during that era.

The Last Waltz (1978)

Prior to the release of Jonathan Demme’s “Stop Making Sense” in 1984, Martin Scorsese’s documentary was widely regarded as the pinnacle of concert films. This film captures The Band’s final performance, which took place on Thanksgiving Day in 1976. Notable guests such as Joni Mitchell, Neil Young, Muddy Waters, Eric Clapton, Van Morrison, Bob Dylan, and others graced the stage during this show.

Certainly, the gathering was filled with renowned personalities. Filmmaker Scorsese opted for intimate, up-close shots during filming – a deviation from typical live event coverage methods. These close shots effectively captured emotions that are usually absent in fast-paced concert recordings.

Apart from conducting post-concert interviews with the band, he also edited these discussions to delve deeper into their minds. This method wasn’t revolutionary; we’ll see a more renowned example shortly. Critic Janet Maslin of The New York Times observed in her contemporary review that the unnamed Band had largely remained anonymous during their peak years. However, Scorsese effectively brings out individual personalities for each band member throughout the film.

That’ll Be the Day/Stardust (1973/75)

These are two overlooked British films from the early ’70s that resonate deeply with many Brits, despite being largely ignored in the USA. The films were directed by different individuals (Claude Whatham and Michael Apted), but they share a common thread through producer David Puttnam. He collaborated with screenwriter Ray Connolly and lead actor David Essex on both productions.

1. In a fresh take, the initial film, portraying a raw kitchen-sink drama centered around an aspiring rockstar, Jim MacLaine, could potentially be a more compelling dramatic piece. On the other hand, the sequel, focusing on Jim’s rise to fame, might make for a stronger movie about the music industry.

The similar journey David Essex was experiencing personally, mirroring his character’s development, added an intriguing layer to the film. During this period, “Rock On” saw unprecedented popularity, sandwiched between the films’ releases. One of Puttnam’s clever strategies as a producer involved collaborating with Ronco Records, who had previously achieved great success by launching hit compilation albums in the early ’70s.

Puttnam pledged to include plenty of great tunes in his films and hand over the soundtrack licensing to Ronco for album release. This resulted in a successful product, providing Puttnam with the needed funds.

Additionally, let me remind you of that intriguing Frank Zappa movie where Ringo Starr and Keith Moon made notable appearances. In these films, both Starr and Moon played pivotal roles, with Starr playing a significant part in the initial film, albeit he opted out of the sequel. Other prominent figures from the early British rock scene such as Billy Fury, Marty Wilde, and Dave Edmunds also made appearances, some more substantial than others.

Woodstock (1970)

In the latter part of 1969, two legendary concerts transpired, and the subsequent year saw the release of two equally iconic documentaries chronicling these events. The order may vary, but both remain among the most influential rock music films ever produced. Personal preference for one over the other might reveal something about your personality as they deliver vastly distinct emotional resonances.

Michael Wadleigh’s captivating depiction of the iconic Woodstock concert held on a farm in Bethel, NY during August 1969, differed significantly from any music film that had come before. Wadleigh and several other camera operators dwelled among the audience throughout the entire event, from preparation to conclusion. They filmed the free-spirited, drug-influenced concertgoers as they frolicked in the mud, engaged in intimate moments, and experienced a range of emotions, both positive and negative. The experience was at times thrilling, sometimes frightening, yet consistently engaging.

The highlight of the weekend, the performances, were nothing short of magnificent. From the humble elegance of Joan Baez’s “Joe Hill” to Jimi Hendrix’s explosive interpretation of “The Star Spangled Banner,” Wadleigh immerses you in the experience. His frequent use of split screens expands your viewpoint and offers a peek into the surrounding chaos.

Country Joe McDonald gained immediate recognition through his song “I Feel Like I’m Fixin’ to Die Rag,” an anti-Vietnam War anthem. The likes of Janis Joplin, The Who, Crosby, Stills, and Nash, Sly and the Family Stone, Santana were among those who were present. Numerous films have been made about Woodstock, recounting its story in a conventional manner through interviews discussing the preparations, funding, logistics, and consequences. However, Wadleigh’s film does not follow this pattern. Instead, it immerses you into the experience itself.

Gimme Shelter (1970)

Around three months following the legendary Woodstock event, another significant music festival transpired, this time on December 6, 1969, in California’s Central Valley, specifically at a track known as Altamont Speedway. Unlike the atmosphere at Woodstock, the vibe at Altamont was quite distinct.

At the end of their North American tour, The Rolling Stones held a free concert. They invited some veterans from Woodstock, such as Santana and CSN, to perform with them. However, issues arose right from the start. Much like Woodstock, the crowd grew far beyond initial estimates, reaching over ten times the expected number. The only security provided was by the infamous Hells Angels motorcycle group.

Rather than suppressing the riotous crowd, they instigated further acts of violence instead. The Jefferson Airplane’s singer, Marty Balin, was rendered unconscious by one of these “security” personnel, while another main act, The Grateful Dead, decided against performing as the chaos intensified. Eventually, during the Rolling Stones’ final performance, a concert-attendee named Meredith Hunter stormed the stage and engaged in a scuffle with the Angels. Upon retreating briefly, he returned armed, resulting in his tragic death by stabbing.

Throughout all these events, Albert and David Maysles, two prominent figures within the “direct cinema” movement, documented everything meticulously. Together with their editor partner Charlotte Zwerin, they managed to record the exact moment of Hunter’s death, which later became crucial evidence in the trial against the Hells Angels member who brandished the knife. However, he was found not guilty due to self-defense claims.

In the movie, one captivating scene is when the Maysles showed previously recorded footage to Mick Jagger several months later and elicited his reactions. Notably, James Parker, a film and music critic, highlights another significant moment during the performance where Jagger attempted, albeit unsuccessfully, to quell the crowd’s excitement – an endeavor that proved futile.

In the realm of ’70s rock and roll musicals, that scene resonated deeply with me, encapsulating a significant portion of what was unfolding on the silver screen. Amidst the height of rock and roll’s glory, there was an undeniable sense of twilight lurking around the corner. For instance, The Buddy Holly Story and The Rose were tales woven around death, serving as poignant reminders of the transient nature of stardom and life itself within that era.

In a simpler and more conversational style, the movies “Ziggy Stardust and the Spiders From Mars,” “The Last Waltz,” and “Phantom of the Paradise” all seem to depict the end of an era. The stark contrast between “Woodstock” and “Gimme Shelter” is particularly vivid in illustrating this point, showcasing a turbulent future that lies ahead.

As a film enthusiast who has spent countless hours immersed in the world of cinema, I can confidently say that one of the most impactful and influential American films ever made is Robert Altman’s Nashville, a music movie from the 1970s. This masterpiece offers a stark portrayal of a violent future that seems uncontrollable, and it’s not focused on rock and roll as one might initially assume – instead, it delves into the heart of country music.

2024-08-01 13:01