Souvenirs de Woodstock

Ang Lee and James Schamus like their hippie culture, and love themselves that August 1969 summer of Woodstock, and also the act of trying to capture it on film as it was to be there, on the outside and suddenly coming into the fold of looking in. One can feel the love for the period, the people, the music, the drugs, the whole scene, man. If it doesn't make for the greatest movie it might just be cause Lee has decided to make a precisely light-hearted affair with some fun moments but nothing really hard-hitting with its coming-of-age story. It's a been-there-done-that affair in terms of the major characters, and its more significant background subject provides more of the color and excitement in its two-hour run time.

It's basically about the people behind the scenes at Woodstock (we never see anyone famous, aside from certain semi-figures like Michael Lang and Max Yasgur, portrayed by actors), specifically the young guy Eliot who got together the Woodstock-financial people to his small town as part of Bethel, New York, and helped also to give (politely putting it) a boost to his parents' motel business. We see some of the ups and downs, the downs being things like gangsters trying to muscle their way into the earnings of the thousands of people flocking upstate to frequent the motel (and the up of getting 'security' with transvestite Liev Schreiber in an awesome performance), or just with Elliot's parents and how their attitudes stay mostly the same- what's with these damn kids and their hair and sex and drugs anyway- until towards the end of the three days of peace/love/music.

It's a funny movie for at least a good amount of its run-time. The writer Schamus knows how to milk some laughs out of small-town fears and those scenes of freak-outs that shake up the quiet veneer of rural upstate New York. One good example of this are the folks in the 'theater troupe' who live in Elliot's barn and who remind one of the mime troupe from Easy Rider (lots of naked reenactments of Chekhov). And I even liked how Martin navigates himself in scenes where he has to act perplexed but not show it too much like, "oh, hey, lots of hippies, OK, got to get back to work, whoa!" When it comes time for the more dramatically demanding scenes from Martin (a relatively inexperienced actor and mostly comedian by the way) he falls flat, or looks wonky when tripping his ass off with Paul Dano - a weird but affecting scene, by the way.

Lee decided, more or less, to just take it easy this time around. After the heavy head-trips of Hulk, Brokeback Mountain and Lust Caution, the guy needed to have a laugh, and what better way than to have some good times and breezy moments in reflecting on the one time hippies didn't get stomped down by cops or just wear lots of flowers in their hair. And when its airy and fun it works. When it tries to add some complexity (i.e. a gay innuendo moment is put out there and then never really mentioned again much to my dismay) and starts to get a little preachy towards the last quarter with Elliot having to come to terms with his life and working at his parent's motel (and discovering a dark secret about his rambunctious, irascible old Russian-Jewish mother played respectably by Imelda Staunton) it falls flat on its face. But its worth watching for those little moments - like when Elliot rides on the back of the motorcycle cop through the dense traffic of the road to the Woodstock concert. It's like the good-natured version of the traffic jam from Godard's Week End: less a-holes and more hippies.

I like how director Ang Lee offers something different with every film. The first tim ei laid my eyes upon his work was with 2003's "Hulk".....now a lot of people hated that movie, but i found it very enjoyable. Then of course there is "Brokeback Mountain", in which i found it rather bland. But his last movie, "Lust Caution" was probably the one i disliked the most. However, each of his films are very different......no, not just with their stories, but the way they are each presented.......and in my eye, he presents them very well. And honestly, i cannot wait to see him take a hack at a period piece such as Woodstock. Here is something i liked more than anything in the movie.......rather than WOW you with awesome music, or have them cut the camera away to show Janis Joplin or Jimi Hendrix.......they actually focus on the how this all came together, which was great......because not only was the story very entertaining, but it created this essence about the concert, that it was something far off in the distance that you would never see, and you only heard people talking about it......i mean you obviously know now what it was all about.....but it takes you on this incredible journey of this small town family, and when you finally get a small glimpse of the concert......oh my goodness, it was enough to take your breathe away. Mainl because you see all this preparation, and all these people.....you want to see what all this fuss is about, but it never goes deep inside, and that is what i loved about this movie. It focused its lense on the people to the side, the ones who were the most important, and it showed how they viewed this concert. But the one thing that i must talk about is the scene when our main character first arrives at the actual field......hence, the acid phase. Now im sure you have seen some cool stuff in other movies like "Fear in Loathing" or "Yellow Submarine", because i surely have........but i can assure you this.......that was probably the realist acid trip ever caught on camera. At times, i literally had to look away from the screen and wipe the drool off my face, because it was too real. It captures the feeling of being at an actual festival, better than anything i have ever seen on film before. Job well done in that department. Bottom Line.......great movie. That is it. Now im sure most of you want the whole, hey lets meet the bands and what not......if you want that, you can watch a million documentaries about it on VH1. But this movie takes you on a much different trip. One that i actually liked. Let's face it.....i have lived that life, and it is now gone from me........but it certainly created those old feelings in my soul once more. Fantastic period piece. Easily my favorite Ang Lee film to date.

Taking Woodstock is a personal story about a young man finding himself at a time when his generation was trying to do that throughout the world. It is not a "docudrama" about the event, so people expecting to relive the Woodstock festival, take note. Elliot's struggles and evolution through this unique event are another of Ang Lee's wonderfully textured allegories. That this fellow raised in China can so pointedly create the full emotional spectrum of the "youth movement" of that time is a testament to his artistry. This movie takes on a series of serious ideas with a light flair. Go in prepared to "go with the flow" and you'll leave feeling free, man.

If you want to have a real sense of the concert and the mass of young people who attended, as a crowd, by all means check out "Woodstock" from 1970. It's all there, the music, the rain and mud, the buzz on the soundtrack replicating the buzz on the sound system at Yasgur's Farm.

But if you want to get a feeling of what Woodstock meant on a personal level, then Ang Lee's your man and you've come to the right place.

How Lee managed to film this recreation without using real footage, I have no idea. That's apparently what he did.

There in a number of shots is the hillside, mud and slop, with the stage below. The few food stands and portable johns at the top of the hill. The winding pathways through the side venues of jewelry, art, a class for this and a political table for that. The long narrow road that still leads off of New York State Route 17B to the Yasgur hillside where it happened.

It rained a lot, but there was sun, this was mid-August and Lee bathes us in the warm glow of peace. Especially true to the event as I remember, the state cop who returns a peace gesture, the locals making sandwiches and offering water from hoses.

Everyone who was there and lucid has a personal remembrance. Mine began on Friday evening with air mattresses not more than 50 feet from the stage and ended with the sacrifice of a blanket abandoned on the mudslide the hill had become by early Sunday morning. In between, I managed to shuttle down state route 55 and into New Jersey the back way, after the music ended Friday night, Saturday morning. Then back from New Jersey up the same road and finally ending about two miles the other side of the concert where the vehicle stayed untouched until it was reclaimed near dawn on Sunday.

By that time, all though I'd only had a few generous puffs of weed, freely offered by those who had some, I was hearing double and it was time to pack it in.

Yes, the brown acid warnings from Chip Monck (name?), the event "voice" echo'd in the acid trip of Demetri Martin, the young son who blunders into inviting the event to White Lake. The colors and details are incredible as seen from his eyes, slowly beginning to shift and then expanding until the hillside is undulating in waves around the lit stage below. A remarkable shot.

Martin won't win any academy awards; Imelda Staunton might for her portrayal of his paranoid Jewish mother who has hidden a fortune while her rundown motel is nearing foreclosure. And an honorable mention should go to Liev Schreiber as the cross-dressing former Marine who provides security at the motel.

Stereotypes? Sure. Few hippies ever were as mentally vacant as the Earthlite players. Did anyone buy Emile Hirsch's early post-Vietnam anguish? Fortunately, it was left on the doorstep of the main film and Hirsch's character later rings true. Just a high school buddy come home.

But see the film for its personal feel, very true to the event. The wish that Dylan would arrive. The helicopter flights to the medical tent. (only a small number of half-a-million needed any treatment at all.) The question, what about the boys in Vietnam. As one girl says on 17B, "Wish they were here." I was back just a little more than a week. Went with an Army buddy I'd never see again. Yet no one gave us grief for our short hair, mandatory to get out of Vietnam.

The music? Well, Arthur Lee and Love are the perfect accompaniment to the acid trip inside the bus (they never played at the festival.) When the early strains of Friday night's music begin to waft over an idyllic lake where dozens of kids bathe nude, it's Arlo Guthrie and I caught myself thinking, damn, it was dark when Guthrie appeared. But that was forty years ago and the memory can't be trusted.

Just the personal feeling. And despite some of the weaknesses in the subplot, Ang Lee did get the feeling right.

For the personal memories, he absolutely nailed it!

TAKING (the Music Out of) Woodstock!....OK, maybe my re-worked title is somewhat over the top. But then "Taking Woodstock" is a bit over the top, too! Hell, 1969 was over the top, wasn't it?! But who really cares! Come on, people! It's a Movie! Name ONE film set in 1969 that isn't a little overdone. I should know about Woodstock; I was THERE.......in spirit!

Sadly, as much as I, and about 50% of Americans in my age demographic, longed to be present, we formed part of the 98%(of the half) who couldn't make it. The other 50%, incidentally, were probably praying for the earth to open up and swallow those 1/2 million music, marijuana and peace-loving souls. ("Nearly 500K attended Woodstock" -Wikipedia) Director Ang Lee has really amazed me. He has made...

A) The film that best encapsulates, captures the true essence, of this great cultural benchmark concert and most extremely divisive moment in our nation's history since the Civil War!

B) He did this despite being someone from outside our American culture!

C) He has managed to serve up what was, for me at least, the one of most entertaining and vibrant movies of 2009.

Laughed so hard at times, I cried! I can't even REMEMBER the last movie that did that for me!!! Isn't that what movies are supposed to be all about?

Demetri Martin is the late-twenty-something-good-Jewish-Still-living-at-home-son, who serves as the concert's catalyst. Martin renders his role with great finesse, aplomb and stand-alone chutzpah! (Check out his resume on IMDb: What a multi-faceted talent)

But the real scene-stealer was a TOTALLY unrecognizable Imelda Staunton, as the Jewish mother from Hell! She should have at the very least received an Oscar nomination! Fascinating "Woodstock" dichotomy: Martin's character is right there, in the center of the firestorm...and yet, NOT! What a great metaphoric irony for the millions of us, who were and weren't there, either!

Despite a few flaws, a Resounding 9*********

..... ENJOY! / DISFRUTELA!