Top 5 Awful Moments in U2's 'Rattle & Hum'

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The Panther said:
Despite the pomp and the whiff of cheese throughout, I quite enjoy me some Rattle & Hum (film). Unlike some of the others on Interference, I used to watch Rattle & Hum. I related to it, because I used to drive across North American myself, for a couple of years, with my parents... I was what they called a glorified hobo boy. So, I related to Rattle & Hum. It was great to buy the film on VHS and now it's eternally digital and all, but I wish the film could exist somewhere where I couldn't have got it. I don't know why, you know, it's just one of those things.
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:applaud:

You forgot "(stares off into distance...)"

Whenever I'd watch this on VHS with my other U2-loving friend back in the early 90's (and since I worked at a video store this was at least once a week), we would laugh at how long the camera holds on him after his line. Larry probably would have punched him if it went on a couple more seconds.

The Panther said:
You're right, but we probably shouldn't lay the blame at Joanou's feet. Consider that, in fall 1987, Joanou was a 26-year-old director fresh out of film school, and U2 was the biggest rock hype in the world. I think they knew exactly what he was doing, and they were probably calling most of the shots (not literally... but, you know what I mean).
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Well, that's mostly accurate. Joanou had directed two episodes of the very popular, Spielberg-produced anthology show Amazing Stories, and had a feature film to his credit already. "3 O'Clock High" was in video stores and shown on cable and was a very funny and visually inventive comedy. I had seen this film before Rattle & Hum's release and actually recognized Joanou's name when I first saw the latter.
 
Earnie Shavers said:
Because Love is Blindness and Wake Up Dead Man are party starters?
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Characteristic meaning prevailing, not universal ffs. The mood U2 would be most associated with.

You're right about the same thing applying to Dead Man as a closer, good point. But I don't find anything remotely depressing about Love is Blindness. That album is generally dark, but I think loved because of that.
 
When I saw it in the theater I thought WTF?! I didn't really like it except for the live scenes. My most disliked part is Larry at Elvis' mansion and they are interviewing him and afterwards he takes the cue for that lame ass stare off to his right. It was so contrived. But now.....I do enjoy it every once in a while.
 
blackhawksjon said:
When I saw it in the theater I thought WTF?! I didn't really like it except for the live scenes. My most disliked part is Larry at Elvis' mansion and they are interviewing him and afterwards he takes the cue for that lame ass stare off to his right. It was so contrived. But now.....I do enjoy it every once in a while.
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I agree that the live scenes are fantastic. Really, that's some impressive camera work and the band was at its peak.

But yeah, those lingering cheeseball shots are a bit much. 1988 was U2 at their most pretentious, however (which is saying a lot!). I don't know if y'all have seen the Rattle & Hum book (yes there was a book in addition to the movie and album), but it's even cheesier than the movie.

(I did my laundry in Hell's Kitchen once, by the way.)
 
Nah, the cheesiest bit, more than the movie, the album and the book, (all of which I own :( ) is the promotional documentary. Robbie Robertson (how did he get sucked in) doing the most gawdawful fawning voice over.
 
alive@33 said:
Characteristic meaning prevailing, not universal ffs. The mood U2 would be most associated with.
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I would agree it's probably what they're most associated with, but I certainly wouldn't say it's prevailing. And you were talking specificaly about album closers, suggesting Cedars was somehow unique (and ballsy) for being a dark/moody closer, when about half of their album closers are exactly that.

alive@33 said:
But I don't find anything remotely depressing about Love is Blindness.
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Extremism? Mass murder in the name of religion? Pass the bubbly!
 
The Panther said:
I agree that the live scenes are fantastic. Really, that's some impressive camera work and the band was at its peak.

But yeah, those lingering cheeseball shots are a bit much. 1988 was U2 at their most pretentious, however (which is saying a lot!). I don't know if y'all have seen the Rattle & Hum book (yes there was a book in addition to the movie and album), but it's even cheesier than the movie.

(I did my laundry in Hell's Kitchen once, by the way.)
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Hell's Kitchen is my week at work this week. It was no fun :( The positive is beer will be consumed......a lot.
 
Earnie Shavers said:
you were talking specificaly about album closers, suggesting Cedars was somehow unique (and ballsy)
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I will always regard it as a brave ending - to be precise, by ending of the album, I was not referring to final song, but the very final statement of the album, or sentence even. I did not find Cedars at all depressing until the final 2 lines. First time I heard the song, I was not expecting them and they were like a blow to the solar plexus. I did not like it at first but grew to admire Bono more for the honesty of it. Now I don't find it depressing, just real.
Besides what I precisely meant by "ending of the album", there's an important mood difference between the ending of the ending of No Line, and the beginning of the ending of Pop. The mood in Dead Man is despairing, Bono is clearly upset and angry writing those lyrics. There is next to no emotion in "[Your enemies] are not there in the beginning but when your story ends, gonna last with you longer than your friends". It's quite matter-of-fact and very sober. I think the fact Bono is not emotional adds to the insight (maybe the impact too) of it.

Bono will risk upsetting U2 fans in order to be truthful with them.
 
lazarus said:
WHAT lS THIS l DON'T EVEN
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There was a discussion about lyrics in R&H, and someome mentioned Elevation's lyrics being throwaway. I just said not everything should be deep and meaningful and gave an example of the final 2 lines of No Line as something that was extremely deep, and to my mind, also brave.

I was glad to be challenged on that because it enabled me to tease out exactly what was going on between me and the last 2 lines of No Line. My initial reaction was that it put my nose out of of joint. I struggled with it, didn't like it at all. But I ended up admiring Bono more for having the guts to really challenge someone who had just paid for a U2 album, through its final 2 lines. I'm not saying I 100% accept the last 2 lines as accurate, but I accept that Bono is saying something really deep and being totally honest.

Tonight my partner and I are gonna watch R&H, for me the first time since about HTDAAB release. I can't wait for God's Country live, haven't seen it since back then - the sheer power of it :hyper:
 
^ Laz is just saying that Bono is a proven liar and your previous statement doesnt compute.
 
"Liar" as in has contradicted himself, or has been intentionally deceitful?
If you're claiming the 2nd, that's a pity. Why support the band if that is your view? Btw I'm assuming you have never lied in your life? I on the contrary have lied many times in my life, but I'm not the same calibre of individual as yourself.
What are you unable to compute?
 
Rachel D. said:
It's a joke. "Bono lied!" :sad: I think it originated in the New Album thread(s).
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Ah, understood! Sorry for the mixup then
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