Vestron Video VA 4372
Vestron Video VA 4372
One of the most respected photographers in Rock and Roll history is native New Yorker Bob Gruen. He has been one of the leading documenters of the rock world since the 1970’s, working with the likes of John Lennon & Yoko Ono, Ramones, Sex Pistols, Clash, Elton John, Kiss, Patti Smith, Tina Turner, Blondie, Muddy Waters, Rolling Stones, Madonna, Bob Dylan, Bob Marley, Led Zeppelin, The Who, David Bowie, Aerosmith, & Alice Cooper. In 1989, he documented the trip to Russia of the Moscow Music Peace Festival featuring Ozzy Osbourne, Bon Jovi and Motley Crue. In 2006 he released a feature length documentary about the New York Dolls called All Dolled Up, which captures the band during their early performances in New York and their 1973 west coast tour. He has also published several books of his photographic work, including last year's ROCKERS; 2005’s John Lennon – the New York Years; The Clash, Photographs by Bob Gruen from 2004 and his first book Chaos, the Sex Pistols, published in 1991.
For the next month, Gruen’s first-ever solo show in Los Angeles will be on exhibition at the Morrison Hotel Gallery located at 7517 Sunset Blvd in Hollywood (near the Guitar Center). Included are about ten photos from his latest book just released in September -- New York Dolls: Photographs by Bob Gruen, compiling over two hundred images of the iconic Dolls. The exhibition at the Morrison Hotel Gallery runs until Nov. 11.
So, I'll go ahead and use the fussy distinction of my esteemed colleague, Mr. Brightwell, and call Jonathan Demme's new film cinéma direct, rather than cinéma vérité. It's grueling enough to deserve the three accent marks, however. Unlike the use of the shaky-cam in Blair Witch Project or Cloverfield, Demme and his cinematographer, Declan Quinn, always keep the camera in the objective, 3rd-person tense. They also thankfully keep it more transparent than the nauseating narcissism of Paul Greengrass's camera work. While moving room to room, the audience floats along, but when the wedding party guests are talking, Demme and Quinn fix the shot, even remembering that modern cameras can re-focus on stuff in the background without having to move. Contrariwise, I remain skeptical of any definitive ability to distinguish between direct and vérité when it comes to fictional films. The direct documentary is akin to the transparency of classical Hollywood, I suppose, but expert editing, grainy textures, and perfect-looking people tend to call attention to the artifacts in a realist drama. Whatever you call it, Rachel Getting Married is realism at its squirm-inducing most direct.
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