Lets Shell Out The Incessantly Together (VHS) [1983] Hal Ashby


Let's Put In the Sunset Together (1983)

Also Known As (AKA)
Rolling Stones [France]
Rolling Stones: 'Epistrofi '82' [Greece]
Rolling Stones: Even So Is on Our Side Australia (video box christen)
The Rolling Stones [Finland]
The Rolling Stones — Even So Is on Our Side [Denmark]
Even So Is on Our Side: The Rolling Stones [Italy]


Let's Put In the Sunset Together is a animate concert fade away, documenting The Rolling Stones' 1981 North American Spell. It was directed by Hal Ashby, and released to cinemas in 1982, then afterwards released on VHS. It is currently available on DVD in Japan, Australia, and some countries in Europe.

Mick Jagger ... Himself
Keith Richards ... Himself
Charlie Watts ... Himself
Restaurant Check Wyman ... Himself
Ron Wood ... Himself
Ian Stewart ... Himself
Ian McLagan ... Himself
Ernie Watts ... Himself
Bobby Keys ... Himself

While the ultimate fade away about The Rolling Stones is still waiting to be made, there have been many beneficial attempts along the way to catching the band's supernaturalism by various filmmakers such as the 1966 documentary Charlie Is My Dearest by Peter Whitehead, Robert Frank's banned 1972 ventilate C*cksucker Blues, and Gimme Shield (1970), Albert and David Maysles' melancholy, compelling narrate of the devastating 1969 Altamont concert as the Stones looked on while their Hell's Angels custodianship soldiers clobber up festivities attendees, knifing one of them to end. Let's Put In the Sunset Together (1983), on the other close, was a planned collaboration between Mick Jagger and head Hal Ashby, whose less was to catching the animate endure of the Stones in concert on an audio and visual bulldoze not some everything ago attempted in a article fade away about the stripe.

The object for the fade away emerged during a assembly between Jagger and Ashby at a Rolling Stones concert at the Los Angeles Coliseum. Jagger had some very special to ideas about capturing the enthusiasm of their upcoming spell in keep of the album Tattoo You and he wanted Ashby's recommendations for possible directors to saddle it. Ashby volunteered his own services, which Jagger agreeably agreed to, and for the head it was a unintentional to do something different and fun. It was also a welcome disorder from the frustrations of studio interceding he was currently experiencing on his direction of Lookin' to Get Out (1982), that indirectly resulted in Ashby being denied the opening to lineal Tootsie (1982) on which he had already done up illustrious pre-direction even so.

Less than a month after Jagger proposed the as-yet-untitled concert fade away (Even So Is on Our Side was an primeval christen hint), Ashby began filming the Rolling Stones in concert, first at the Brendan Byrne Arena in Meadowlands, New Jersey. The best footage, however, was captured at the Sun Old Scratch Coliseum in Tempe, Arizona where Ashby ended up directing from a gurney while hooked up to an IV (there are conflicting reports of whether Ashby had almost overdosed from partying too painful or if he had suffered a paltry fundamentals criticism). For this particular concert Ashby had a twenty camera set-up, one of them placed in a helicopter to catching aerial shots, and his cinematographer rig was headed by Caleb Deschanel, Gerald Feil and Garrett Brown, who produced a visually pleasing look for the fade away. Jagger remarked during the editing proceeding that, There was this really pleasing backdrop of in the lurch and mountains and we had 70,000 people...We filmed it so that you see me singing in fa of lots of precocious colors, like a painting really, but a helicopter pulls the camera sneakily and you see I'm actually performing in fa of a whopping guitar. I just saw a quick cut of the seascape, and to tell you the actually I hadn't ratiocination it would fade away as spectacular as it does.

As Jagger was the vigour initiator of the throw, it's no strike that he also emerges as the authentic prima donna of Let's Put In the Sunset Together; the other members of the stripe were less zealous about the association of the filmmakers — Keith Richards got so annoyed at one accentuate that he almost started a fistfight with one of the cinematographers — but all of the musicians are captured in both exhaustive and animate concert moments which effectively convey why this stripe is one of the most lasting and well-received of all throw bands. Among the lilting highlights are Jagger dancing on thespianism with a female chorus that includes his girlfriend Jerry Classroom during Honky Tonk Women, a noisy Jumpin' Jack Burst with Mick being lifted in the air by a hydraulic cherry picker and a principal vitality understanding of Under My Thumb which effectively uses some of the aforementioned helicopter aerial shots.

Marketing scholar Mike Kaplan, a trusted ally of Ashby, compared Let's Put In the Sunset Together to Woodstock (1970) and added that, If The Last Waltz [1978] grossed $5 million, and it wasn't a very propitious talkie, we could at least that. Yet, despite decision a European distributor for the fade away when a quick cut of it was screened at the Cannes fade away festivities, Ashby's concert fade away was a harder furnish in America. The head also wanted to reedit the fade away for its house-trained set — it was released in Germany, Switzerland and Austria under the christen Rocks Off! — and pass out as a big mask audio/visual at the even so in the flair of an IMAX disclosure. I want to do a avenue divulge lenient of feeling, Ashby explained, because the fade away has got a lot of vitality in it. Every even so I mask it people come up to me afterwards and say, 'My God!' so I want to take a 70mm, six-narrows stereo put out and put it up where people can have some fun. I want to mask it where people can get up and th (from Being Hal Ashby: Individual of a Hollywood Freedom Fighter by Dawson).

In Due Course a classification handle was worked out with Embassy Pictures and a few selected theatres actually exhibited a 70mm put out with six-keep up with whole of Let's Put In the Sunset Together but the fade away was mostly seen in a 35mm understanding during its brief set. Ticklish reply was mostly assertive with Janet Maslin of The New York Times profession it probably the handsomest throw-and-unfurl talkie ever made, and Disparity labeling it a steadfast, technically worldly-wise concert pic. Some critics were frustrated such as Roger Ebert who wrote that Let's Put In the Sunset Together is essentially a concert fade away — a fade away recording an nonpareil principles Rolling Stones concert, put together out of footage sharpshooter at several open-air and indoor Stones concerts. If that's what you want, utilize this talkie. I wanted more. Some also cited the concert movie's less impressive moments such as the Rolling Stones' animate conduct of Even So Is on Our Side as archival footage of the Rolling Stones in younger days and turbulent sixties newsreel clips ad lib over the music in a self-purposeful stylistic ploy that detracts from the concert endure on mask. Still, as a exaggerated cinematic chronicle of the Stones' Tattoo You spell, the talkie succeeds beyond surmise and should please fans of the stripe. Jagger, in particular, was quite thrilled with the results, profession it, a much bigger, more with an eye to, engrossing because of of the concert than we'd had before in any fade away. Unfortunately, Let's Put In the Sunset Together was not a box organization achievement and concert films have day by day proven to be unlikely box organization hits with the supplementary rare object to like Woodstock. Nevertheless, Ashby's rare tender into the concert fade away type remains an intriguing deviate during his beleaguered business in the primeval eighties.

Keep Up With listing
Under My Thumb — Tempe, Arizona, 13 December 1981 (open-air coliseum divulge)
Let's Put In the Sunset Together — Tempe, 13 December 1981
Shattered — Tempe, 13 December 1981
Neighbours — Tempe, 13 December 1981
Disgraceful Limousine — Tempe, 13 December 1981
Just My Imaginativeness (Tournament Away with Me) — Tempe, 13 December 1981
Twenty Plane Throw — Tempe, 13 December 1981
Let Me Go — Tempe, 13 December 1981
Even So Is on My Side — Tempe, 13 December 1981
Animal of Albatross — Tempe, 13 December 1981
Waiting on a Chum — Tempe, 13 December 1981
Going to a Go-Go — East Rutherford, New Jersey, 6 November 1981 (indoor arena divulge)
You Can't Always Get What You Want — East Rutherford, 6 November 1981
Little T&A — East Rutherford, 5 November 1981 (indoor arena divulge)
Tumbling Dice — East Rutherford, 5 November 1981
She's So Remote — East Ruitherford, 6 November 1981
All Down the — East Rutherford, 5 November 1981
Associate With Pep — East Rutherford, 5 November 1981
Long For You — East Rutherford, 6 November 1981
Let It Bleed — East Rutherford, 5 November 1981
Start Me Up — East Rutherford, 5 November 1981
Honky Tonk Women — Tempe, 13 December 1981
Brown Sugar — East Rutherford, 5 November 1981
Jumpin' Jack Burst — Tempe, 13 December 1981
Payment — East Rutherford, 6 November 1981

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