Submarina: Gimme Shelter

Gimme Shelter

One of the most important films of the year."

- NEWSDAY, 1970

"A shocker. Pouting, bumping, crowing into the

microphone, Jagger is completely mesmerizing."

- DAILY NEWS, 1970

"One of the most powerful films ever made.

I can only implore you to see it."

- MORNING TELEGRAPH, 1970

"Vivid, scary, revealing, hypertense."

- PLAYBOY, 1970

"There's no way to escape the image on the

screen, nor deny its truth. We blew it at Altamont;

'Gimme Shelter' lets us watch ourselves blowing it,

and makes us understand how and why. It's a lot

harder than it looks to make a film as good as this one."

- ROLLING STONE, 1970

"The most disturbing, powerful, and inciteful moments

to be recorded on film of the young generation raised

on rock." - NEWSWEEK, 1970

"One of the year's most important films. A mesmerizing

portrait of the love and drug generation."

- WALL ST. JOURNAL, 1970

"A mind blowing trip across young America."

- JEFFREY LYONS, 1970

"A stunning film, a sensational piece of filmmaking,

a landmark."

- HOLLYWOOD REPORTER, 1970

Por ahi hablan de la cámara silenciosa y discreta de Albert Maysles; pareciera que los personajes ni se dan cuenta de la presencia de ambos.

Their methodology, for example, meant that much footage must be discarded. They emphasized that nothing was staged, a structure that eventually emerges from the material. In their own work they saw a relationship to Truman Capote's concepts and methods for his "non-fiction novel": discarding preconceptions about their subjects, while concentrating on learning about them and understanding their motivations and feelings.

El Direct Cinema no involucraba la participación en cámara del director. Se trata de estar, y retratar sin mucha parafernalia lo que hay. Sin embargo, esta película sí cuenta con la intervención de los directores; se nos va llevando, al mismo tiempo que los protagonistas hasta el momento culmine, la reacción de Mick Jagger y Charlie Watts al ver el asesinato.

Lo que a mí me sorprende de la situación, es que ya se veía venir desde antes de que los Stones subieran al escenario. Cuando Jefferson Airplane está tocando, los Hells Angels ya estaban vueltos locos golpeando gente, incluyendo al vocalista de la banda. Y aunque en realidad hay imágenes de varios conciertos antes del final trágico, en casi todas las críticas de la película se gira en torno al asesinato como si fuera el único suceso para recalcar.

Jean-Luc Godard once called Albert Maysles "the best American cameraman"

(After the incident) "Instead of being part of the counterculture, they opted for show business. When they came back to the USA in 1972, they were playing a much lighter show, going more for comedy rather than drama. And I think that had a great deal to do with Altamont. Its effect was profound. Mick Jagger said that if Jesus had been at Altamont, he would have been crucified. And he wasn't exaggerating."