Monterey Pop (1968)

Don't listen to the negative reviews

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The first must-see film of the year.

What I have seen is the original theater version of this which was recently premiered on TCM. Up until I watched this there, I did not know it existed. When I saw it, I think this is a glorious time capsule of the 1960's, and is more than that. Any classic rock fan should get a look at this one.When I read there is more performances and extras that are not here, I am glad though I am not sure after reading about them, if all the performances from this 3 day music festival really exists. I hope it does and there is a really good reason for that. This is the rehearsal for Woodstock, except it is done by the more mature Adult in California. Lou Adler was a top music producer in the 1960's. While his credits here on IMDb do not include recordings, he is on the walk of fame in California with good reason. Any fan of Johnny Rivers, knows Adler's name as he produced almost everything Rivers ever recorded in the 1960's. Imperial Records had Adler producing most of the music the studio released from Fats Domino to Ricky Nelson and Cher. He is a true legend of the music industry. His work on producing this concert is one of the reasons so many folks showed up, and why the film is really well produced. Woodstocks Producer was Bob Maurice. Woodstock was the only large effort Bob would ever produce, though he did production work with Dick Clark on American Bandstand for many years. The difference between this festival and Woodstock is more than which came first. Woodstock became a sexual liberation concert with many naked men and women running around doing what came naturally. This film is more of a peace and love movement that is Conservative in comparison. Talent here is amazing, even in the short version. The first diversity in a music festival is on display with music from India. Then we have the burning guitar of Jimi Hendrix, and the changes that were taking place in the country including body painting, and Ravi Shankar and Otis Redding. Janis Joplin breaks new ground here as the first overpowering female lead singer who could belt out this kind of music loud enough to drown out the audience and mellow them a bit.New York was always behind California in the 1960's. The media center of NY City in the 1950's had relocated to California. That is why the first 3 day rock festival happened there. New York still struggles trying to keep up with California even now. Seeing this after Woodstock, Monterey Pop is much better produced, and an amazing film. This short film is more powerful than hours of Woodstock, and I imagine the full length 3 or 4 hours of material including the outtakes have to be amazing. Discover this treasure from the 1960's and be thankful for it. I hope that unlike me, you will get to see the outtakes. I am going to look for them. After seeing this, I want more.

It's the legendary California music festival in June 1967. D. A. Pennebaker films the incredible iconic concert. There is great music. It is an important time capsule for popular music in general. Two of the most notorious performances are Jimi Hendrix burning his guitar and Joplin singing with Mama Cass watching in shock from the audience. One does learn a few things. I didn't think they had chairs but the metal chairs are all neatly lined up in their rows. This is more than a movie, a documentary, or a concert film. It is music history.

I wasn't at Monterey in '67, and neither were 99.999% of the people now commenting on this film. To read so many of these comments you'd think that the entire audience was now online and writing reviews. They criticize the song selections, the blaring omissions, the crowd scene inserts, and even the haircuts. They seem to be saying that this film doesn't quite present an accurate picture of the unprecedented 3 day phenomenon that was the Monterey Pop Festival. Well, WHAT would present an accurate picture of that amazing event? I suppose, maybe, hearing someone who was ACTUALLY there tell us his or her story of those wild days. Someone like, I dunno... D.A. Pennebaker? Hey, right, he WAS there, and this film is HIS story (history). At only 78 or so minutes it's more so his impression, his true reaction, in condensed user friendly form, like a good story is supposed to be.It was a powerful moment in pop culture - something of an evolutionary turning point. Monterey Pop was very soon understood to be the coming-of-age party for the next generation of cultural leaders. As I watched it the first time some 25 years ago I remember feeling like I was witnessing a natural birth. The birth of a new social order that cherished and honored peace and love above all else. Like all births it wasn't all pretty. Often it's messy and painful and even scary.Pennebaker opens his story with the splendid Janis Joplin and Big Brother and the Holding Company's up tempo "Combination of the Two" playing over pre-concert footage. The hippy dippy love and peace vibe was so thick and fun. Appropriately, Scott McKenzie is then heard over more concert prep footage singing "San Francisco (Be Sure To Wear Flowers In Your Hair)", which festival co-founder John Phillips wrote to promote the event. The first stage act we see are The Mamas and The Papas doing "California Dreaming" - a fine expression of the spirit of the day. Sensational rock acts including Canned Heat, Simon & Garfunkle, and Jefferson Airplane follow. Big Brother & The Holding Company really get things deep with Janis wailing a remarkable "Ball and Chain." The romance sours a bit as Eric Burden and The Animals perform a sinister "Paint It Black." It then gets very rough when the Who really beat up the crowd with what sounds like early Punk, their ultra loud hooligan posture in stark contrast to the relatively mild preceding sets - ominous signs of a possibly troubled pregnancy. Destroying their instruments at the end of their set in a fit of hyper adolescent rage seems to be a not-to-be-topped show-ender. This may be a stillbirth.And it would have been if The Who hadn't been later followed by the yet not well known Jimi Hendrix who then assumes total control of The Delivery. The water's broken, The Baby is coming and Doctor Jimi is Chief Physician. But he's not your typical Md with an axe. He is transforming before our eyes, mutating, expanding into enormous dimensions and capacities into a monumental Shaman. A molten force from prehistorical depths erupting and reforming endlessly, now being entirely recreated. He writhes and coils as if caught in the throws of powerful contractions. An electric, sonic fetus has instantly developed on stage into a gargantuan, cosmic sound. His symphonic offspring, now fully formed, complete, gorgeous, pure like Apollo, the god of healing who taught man medicine. The god of light. The god of truth, who can not speak a lie. And then Jimi sets fire to his guitar - a ritual sacrifice, appeasing the greater gods that this brand new, better, infant world he has just ushered in might live and prosper.Pretty heady stuff, aye? And the truly amazing, wonderful bit that still thrills me is that Ravi Shankar outdoes Jimi. Ravi had done it earlier on the preceding Sunday afternoon, but realizing the awesome achievement of Shankar's act, Pennebaker wisely saves this astounding performance for last. Time, after all, is just an illusion. In what starts like a modest and polite display of a bygone technique, Ravi's raga soon has summoned the attention of everyone and directed it to the Here And Now. The rhythmic syncopation building upon itself, repeating and quickening, everyone's awareness now finely focused on the increasingly heated, emphatic call and response between Ravi's Sitar and Alla Rakha's Tabla. The pace and intensity increase and hold the entire population helplessly captive. It's a formidable, inexorable current that has grasped everyone's consciousness as the pace continues to build and grow. Each pass seems to be the limit but the next surpasses. Everyone's psyche is pummeled with ferocious spasms of rhythm. We are not just witnessing but actually experiencing the conception of our new life. A great cosmic mind f*** with the potent seed of eternity being implanted into the open, pulsing, unsuspecting, tender minds of all.Tho they didn't know it yet, on that Sunday afternoon of the final scheduled day of the Monterey Pop Festival, a roundish, dark skinned, simple cotton cloth swaddled gnome had very thoroughly, graciously ravished the collective mind of that naive bunch. And you can see it on the stunned, gaping faces of anonymous spectators and fellow performers alike. They just didn't have the words or ideas or emotions to grasp what was happening.So it was in such a fertile, pregnant state that Janis, and Pete and Jimi took that evening's and next morning's stage and completed the inevitable, miraculous act that Ravi had so cunningly initiated.This is what I felt when I first watched that edited, incomplete personal tale that is "Monterey Pop." That deformed near-abortion is, to me, perfect. As perfect as any life can be.

I've seen various run times listed for this film. IMDb lists it at 78 minutes which is probably it's runtime for it theatrical release in January of 1969. When it premiered at New York's Lincoln Center in late December of 1968 it's runtime was a mere 72 minutes. 18 of which is Ravi Shankar from his 3 hour set that was only attended by 7,000 concert goers on the afternoon of the final day. That's a lot of time devoted to a film that covered a concert that featured 33 acts. Originally in late 1968 when the film was complete it's run time was 138 minutes which at 2 hours and 18 minutes the film makers decided was too long and it was cut to 98 minutes. For some reason this still was reduced further. Making the films final cut are Simon & Garfunkel, Jefferson Airplane, The Mama's and the Papa's, Eric Burdon, Hugh Masekela, Otis Redding, Canned Heat, Scott Mckenzie, The Who, Janis Joplin, Jimi Hendrix and Ravi Shankar. Director D.A. Pennebaker in collaboration with filmmakers Richard Leacock and Albert Maysles were originally hired by ABC to film the Montery Pop Festival in June of 1967 for a televised special which the network decided not to go ahead with so the footage was released as a documentary film. Dunhill record founder Lou Adler and Mama's and Papa's founder John Phillips and Beatles publicist Derek Taylor were the organizers of the festival and Adler and Phillips are the film's producers. Along with Pennebaker, Leacock and Maysles additional photography was filmed by James Desmond, Barry Feinstein, Roger Murphy and Nick Proferes who used 16mm cameras to film the event. Nina Schulman is the principal editor which must have been a monumental job. Pennebaker spent most of his film career producing music/concert themed documentaries. He gained attention for his 1967 documentary Don't Look Back about Bob Dylan's 1965 British tour. More of the Monterey film shot by Pennebaker, he would release as two other documentaries Jimi Plays Monterey and Otis at Monterey. These three documentaries on Monterey along with additional footage of acts cut from the original film called Monterey Pop The Outake Performances have been released as a four hour 3 disc DVD set called the Criterion Collection. I have not seen that yet and can only limit my comments here to the original Monterey film that I did not see in it's theatrical release but have seen many times on television. It is not the cinematic achievement of Woodstock but it is of historical significance. I would have rather it remained that original directors cut of 138 minutes. 18 minutes of Shankar would have played in better context. I would give this an 8.0 out of 10.