Product Details

• Amazon Sales Rank: #29692 in VHS
• Released on: 1994-10-18
• Rating: NR (Not Rated)
• Formats: Color, NTSC
• Original language: English
• Number of tapes: 1
• Running time: 100 minutes

Amazon.com
This version of Jean-Luc Godard's 1968 One Plus One caused a legendary confrontation at a film festival when the director became infuriated at his producer's decision to attach the Rolling Stones' completed song "Sympathy for the Devil" at the film's end. Godard's own original plan had been to make a film of the Stones' construction of the tune in rehearsal, and intercut that with a story line about a white revolutionary who becomes suicidal when her lover embraces black separatism. Production problems caused Godard to give up that idea and just allow scenes to fall where they would, allowing viewers to construct the film in their own minds. Be that as it may, this slightly shorter and more commercial producer's cut does not lack in satisfaction by closing things out with the song as Stones fans know it. Overall, the film is a bewildering affair, and that's not at all a bad thing: one's orientation is whatever one makes of Godard's enthralling mess here. Even if a viewer is just interested in seeing the Stones at their peak and at work on their brilliant 1968 album Beggars Banquet, this is a highly rewarding experience. Astute watchers and listeners will note that in an early take of the song, Mick Jagger sings the lyric, "I shouted out, 'Who killed Kennedy?'/When after all, it was you and me." Later, with no mention of a particularly tragic 1968 event in American politics, Jagger has revised the line to "I shouted out, 'Who killed the Kennedys?'" Talk about a startling moment. --Tom Keogh

Customer Reviews

The Creative Process (sort of) and Rock Icons In Their Youth
In many ways, this film is as valuable an account of the Stones and their world and music as Stanley Booth's amazing memoir/biography "The True Adventures of the Rolling Stones." And Booth's book, despite the cheesy, alternate title (it was originally called "Dance With The Devil") is, in itself, a shrewd and articulate literary counterpart to "Gimme Shelter."

But "Sympathy" is a more concentrated glimpse and its focus is on the progression and recording of the title song is, to a fan anyway, fascinating.

One thing I find interesting is the many directions this song could've taken. One version is a chilled out, slowed down samba. Another has an ethereal Nicky Hopkins organ melody. And apparently, the line that originally went, "I shouted out 'who killed Kennedy'" had to be changed to "who killed the Kennedys" because Robert Kennedy was assassinated as they were working out the song.

Other interesting aspects are the questions this film raises. How long a period does this session cover? A month? A week? Two days? Are we seeing the sessions in chronological order. Who are all the other people we see milling around while the Stones try to get something done. We're never told.

Plus, it's just cool to see these guys when they were young, looking great and being as close to themselves as they can be with a camera in their face: Mick, waddling around and flubbing lines; Bill, looking like the boredest man in the world; Charlie focused and steady; Brian struggling to arrange a cigarette to smoke; and Keith, like a slim pirate, doing a jaunty step as he fiddles with what will eventually become "Sympathy's" razor-sharp solo.

Many viewers take this film to task for the non-music related scenes that are interspersed with the studio sessions: short, verite riffs on celebrity, race, sex, literature, techonology. I actually liked these sections, though every single one of them goes on about twice as long as it should. However, these little glimpses outside the studio plant the movie in a particular zone (the end of swinging London as seen through Godard's lens) that give the entire piece a distinct, if consistently unreal, identity.

Marx 'n' Roll
A rarely screened late 60's curio, "Sympathy For The Devil" looms larger as a legend in the minds of those who have namechecked it over the years than as a bonifide "classic". While it's great to have it available on DVD, 35 years passing have not been kind to the film's scattershot approach. Director Jean-Luc Goddard is not exactly famous for linear narrative, so it's not like I was expecting "ABBA: The Movie", but I found this film rough going all the same. The premise: Goddard was given permission to film the Stones working in the studio on thier classic "Sympathy For The Devil". He took this footage and intercut it with Black Panthers spouting political rhetoric and conducting "guerilla theater" vignettes about the "Revolution". While I think we "get" the analogy between the seeds of creativity (the Stones methodically building the song in the studio) and the seeds of Revolution (being sown in the streets), the repetitive nature of the dated rhetoric wears out its welcome quickly. This does leave one pondering as to whom, exactly, the film is for. Music fans will probably find the interruptions annoying; history buffs studying 60's politics will likely find the Stones superfluous. Personally, I found the beautifully shot Stones footage enough to warrant hanging on to my copy. If you're looking for a classic 60's MUSIC film with the Stones, check out "Gimme Shelter" instead. If you're looking for a time capsule of 60's POLITICS, try "Medium Cool" or "Putney Swope". Unfortunately, while "Sympathy" contains a good amount of both,it never successfully connects with either music OR politics.

Utterly incomprehensible, but....
Godard made "Sympathy for the Devil/One Plus One" shortly after the events of May '68, and is consequently one of his most oddball, revolutionary films ever. Fascinating footage of the Stones at work is cut with non-narrative scenes of black revolutionaries quoting Eldrige Cleaver, a porno bookstore owner reading from "Mein Kampf," an interview with a woman named Eve Democracy consisting entirely of yes/no questions, and a woman surreptitiously spray-painting slogans on parked cars, while voice-overs describing sexual situations involving Pope Paul, LBJ and other luminaries drone on the soundtrack. The film works best if you just shut your mind to reason and let it all wash over you. For die-hard Godard aficiandos or Stones fans proficient with the fast-forward button.