When he sees Moore rather than Flannery, his mouth quirks into a slight smirk. The gecko's legs are tense, his arms are raised, and his yellow eyes glow faintly in the old fluorescent lights of the Gym. In a flash of light, Grovyle stands ready on Lee's side of the field.
Grovyle's ball flies a bit faster than Moore's, and pops open first with a snap-hiss. 'Why do we always seem to run into situations like this?' King on “When Love Comes to Town,” a song written for him.Lee feels a bead of sweat roll down his neck as he watches the Pokeballs fly into the arena.
The movie’s two musical high points are the group’s “Joshua Tree” hit, “I Still Haven’t Found What I’m Looking For,” sung in a Harlem church, with spine-chilling accompaniment by the local choir, and a later duet with B. There’s the fervid, screaming despair of the anti-war “Sunday Bloody Sunday” (an unusual display of courage for a Dublin-based band) the hushed prayer of the Martin Luther King elegy “Pride (In the Name of Love).” And the scorching attack on contemporary American belligerence, “Bullet the Blue Sky,” which contains biblical imagery of locusts and plague, the “rattle and hum” of the film’s title. Yet, if Joanou muffles the context, the music comes through searingly clear. (Though U2 is a notoriously humorless onstage group, Mullen supplies some bright backstage moments.) Blond-cropped drummer Larry Mullen Jr., the best camera subject, is sprightly and swift, an elfin jock. Bassist Adam Clayton looks like a street-gang’s bespectacled pet intellectual. Lead guitarist Dave (The Edge) Evans is a wry wisp spouting blues licks.
Singer Bono (Hewson) seems dourly, fiercely charismatic. Joanou asks banal questions the band smirks. We see a bit of the quartet wandering around Dublin, Harlem, or Graceland-or engaging in a monumentally failed interview. Joanou already displayed his camera virtuosity in “Three O’Clock High.” But here, though he matches the impassioned sounds with spectacular visuals, he may not be setting enough of a context. And even though the cinematographer is Jordan Cronenweth (“Blade Runner,” “Stop Making Sense”), it’s the monochrome, shot by director-editor Phil Joanou’s USC college collaborator Robert Brinkmann, that looks more right, more memorable. Midway through, the film finally switches to color: an explosion of bloody reds and harsh ebony. This black-and-white is right in the style of U2’s album photos or videos.
#Bullet the blue sky live rattle and hum torrent#
We see the four musicians silhouetted against a river of fans, a human torrent twisting and swollen in the roaring canyons of the stadiums. Most of “Rattle and Hum” is shot in lyrical monochrome with vast, tilted panoramas. And the look and feel of the band-a mixed Catholic-Protestant bunch-suggests a bonded community of artists clinging to friendship and ideals in the midst of chaos and war. Lead singer Bono Hewson’s lyrics, with their cargo of fury and rapt longing, have a messianic fervor that embraces both Yeatsian poetry and black gospel music. They sing of the Irish “troubles,” of contemporary indifference, violence and greed. And it gives non-fans a chance to see why this unlikely band-four young former Dublin schoolmates, all in their mid-to-late 20s-are often ranked by critics as the world’s best.Īgainst music of shattering intensity and drive, they send out anthems of pacifism, interracial harmony, sweet love and romantic despair. “Rattle and Hum” records some savagely compelling live performances from U2’s 1987 tour. It’s starker, purer-its best songs charged with outrage against injustice.
#Bullet the blue sky live rattle and hum movie#
But the Irish group U2, subject of the concert movie “U2 Rattle and Hum” (citywide), works a different vein. Rock ‘n’ roll, at its orgiastic best, was often party music exploding past its boundaries, pummeling shrieks of lust and dyonisian frenzy.
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