Review: Stop Making Sense

One of the most talked about events of the year in the world of music was that news that classic 80s rock band Talking Heads, best-known for such hits as ‘Road to Nowhere’ and ‘Burning Down The House’, would be reuniting to promote a re-release of their famed 1984 concert film, Stop Making Sense. The remastered film, which documents the group at the height of their popularity whilst touring for their 1983 album Speaking In Tongues, arrives courtesy of A24, a film studio which currently holds a vice-like grip over modern independent cinema. This, combined with a new IMAX print and the fact that all four members were supposedly promoting the film without being at each other’s throats every five minutes (a rare feat indeed), had fans and critics alike excited.

its gargantuan reputation is very much earned

Having seen the film on the big screen, I can safely say that its gargantuan reputation is very much earned, as this was one of the most unique and awe-inspiring experiences I’ve ever had in a cinema.

The film begins with frontman David Byrne alone on the stage, clad in a light grey suit and per- forming the band’s most popular hit ‘Psycho Killer’, strumming an acoustic guitar over some pre-recorded beats. Despite its seemingly subdued nature, Byrne’s performance is brimming with energy, which only gets ramped up as the film continues. Each successive song sees the introduction of a new band member; bassist Tina Weymouth joins Byrne for the gentle ballad ‘Heaven’, drummer Chris Frantz is wheeled in to start ‘Thank You For Sending Me An Angel’ and guitarist Jerry Harrison slides in on ‘Found A Job’, with each new performance building upon the liveliness of the last.

By the time the concert reaches ‘Girlfriend Is Better’, where Byrne dons that iconic, absurdly large business suit that makes him look more like the Kingpin rather than an international rockstar, it’s both totally bizarre and oddly captivating, as the frontman bounds and sprints across the stage like a marathon runner. Unlike most concert films, where the entertainment rests almost exclusively in the audio and camerawork, Talking Heads are dead set on making the movie just as much a visual experience as it is an auditory one.

practically impossible for you to watch without at least tapping your foot along to the infectious melodies.

In order for a concert film to be any good, there are two (seemingly rather obvious) components that it has to get right; sound and cinematography. Luckily, Stop Making Sense excels in both categories with flying colours. The sound quality is top notch; every instrument and vocal bursts is heard loud and clear in the mix, and the new restoration keeps everything sounding crisp by rounding off any rough edges that might have been present in the original release. This also extends to the colour correction, which is a substantial improvement over the original release, allowing the lighting to pop onto the screen. The setlist is also impeccable, incorporating both slower ballads and high-octane hits, making it practically impossible for you to watch without at least tapping your foot along to the infectious melodies.

Byrne’s performance is brimming with energy

The visual direction of the film, helmed by the late Oscar-winning director Jonathan Demme (best known for movies like The Silence of the Lambs, Philadelphia, and Rachel Getting Married), is nothing short of brilliant. Unlike most concert films, which often cut away from the stage to show the reactions of the cheering crowd (just in case we weren’t sure they were enjoying themselves), Demme keeps his cameras fixed on the stage, never cutting away from Byrne & Co.’s outlandish antics.

A lesser director might have tried to incorporate some wacky camera movements in order to imprint their own directorial style onto the film, but Demme knows better than to try and supersede the manic freneticism of Talking Heads. Instead, he trusts that the band’s stage presence will be enough to keep the audience engaged, simply standing back and letting their manic energy spew onto the camera lens. These simple camera techniques greatly complement the amazing sound design, helping immerse oneself into the experience, which really does make you feel as though you’re watching an on-stage gig. This really is a film that *needs* to be seen on the big screen; watching it at home on your laptop or TV simply won’t provide the same experience.

Verdict:

Stop Making Sense is absolutely sensational, and the blue- print that every modern concert film should aspire to, thanks to a flawless setlist and impeccable performances brought to you by a musical group at the top of their game. If it’s playing in a cinema near you, catch it on the biggest and loudest screen possible. Whether you’re a longtime Talking Heads fan or can only hum the chorus to ‘Psycho Killer’.