The Cure: Trilogy
Filed Under: Music, Reviews | Article Tags : DVD review , music on dvd
By: Erik Swift
September 2004
|
The Cure’s creative apex, 1982’s “Pornography,” 1989’s “Disintegration” and 2000’s “Bloodflowers,” can be best compared to the “Godfather” films. It starts with a touchstone release, one that defines a genre and is one of the greatest ever made. The follow up defies the odds & is greater than its predecessor, only to end with a lackluster and arguably unneeded third chapter. Hey, no trilogy is perfect (“Robocop 3” anyone?). When the new wave goth gods landed in Berlin in November 2002 for a few nights at the Metrodome, the band was going to tackle something they’d never attempted before: play and film the first performances of these three albums in their entirety. Nothing original here - The Who, Pink Floyd and what’s left of the Doors have played albums front-to-back in a concert setting. Even Green Day are trying this in mid-September in NY, Toronto, LA and Chicago behind their forthcoming “American Idiot.” With the exception of the latter, The Cure are not utilizing this tired idea as a shell of their former selves but as an active creative unit taking a chance. It works in their favor on the double-DVD “Trilogy” from Eagle Rock Entertainment. Running more than 4 hours in 5.1 surround sound and gloriously shot 16×9 in hi-def, “Trilogy” is a feast for the most ardent mopehead.
The Cure outlasted most of their peers from the late 1970s’ and early 1980s’ post-punk scene. There are many reasons for this – singer Robert Smith’s distinctive image, his self-deprecating lyrics – but the most obvious is the musicianship displayed instantly during the opener, “One Hundred Years.” A driving, swaggering six minutes that has one of the most famous first lines ever to kick off an album. The band is on from the start. “Please make it good tonight” Smith sings inside “The Figurehead,” but he doesn’t have to. Simon Gallup’s prominent bass during the hit single “The Hanging Garden” and especially “A Strange Day” are gut-wrenching. He draws anyone to watch him play these songs again, most of them for the first time since he temporarily quit the band shortly after the “Pornography” tour. He frequently roams the stage while the rest stay put, drawing all eyes on him when he can divert them from Smith. The title cut’s jagged distortion ends a triumphant first set, the crowd on their feet clamoring for more.
“Pornography” is the sort of album that is usually a death knell for most bands. Smith’s gloomy lyrics were written during one of the darkest periods of his life, but more positive and creative tones mark “Disintegration.” The band is even more upbeat – when Smith cheerfully smiles at Gallup, the mood of the gig reverses. The giddy paranoia of “Lullaby” is twisted as the singer, not playing a lick, grins and sticks out his tongue at the rest of the band. Smith’s bright guitar lines often rise above the musical depths that the rest sink to, but they do have their moments. Watch produce musical waves on his keyboard during “Last Dance.” Gallup’s ominous bass throughout “Prayers For Rain” is a standout, too but the filmmakers noticeably add to the overall ambience here. Quickly edited, the jumpy New Orleans-inspired “Fascination Street” feels even more delirious. The lighting - veering from the darkest of pitch-blacks to silhouetted guitars against spotlights to a bath of reds, greens, oranges and blues - is nothing short of beautiful.
The second disc starts with the “Bloodflowers” portion, and an 11-minute “Watching Me Fall” is a band highlight. Baimonte gets in some seriously bitching guitar while a wailing Smith, on acoustic, proves that he still has his voice, a talent he also utilized on “Disintegration.” The jolly keyboards of “Maybe Someday” get the crowd bouncing before a dreary “Last Day Of Summer,” but the excellent finale of “39” and the title track make everyone put the razors back in their pockets. Similar to “The Godfather III,” this is the least recognizable music of the night, but the quintet’s boisterous playing is spellbinding. Despite the predictable set list, extra favorites are required before the Metrodom lights rise. Two cuts from 1987’s “Kiss Me, Kiss Me, Kiss Me” form the encore, and are among the evening’s best instrumental moments. “If Only Tonight We Could Sleep” features an atmospheric Smith guitar performance, and a rollicking version of “The Kiss” closes it. It’s hard to ask any band to do more at this point.
Bidding adieu to this phase of The Cure is made obvious during the bonus interviews. The band is focused to record, ultimately the work from these sessions being released this summer as the band’s self-titled release. Gallup conspicuously has a few problems discussing the “Pornography” material, alluding to the internal and personal challenges from a trying period. Digging for the Easter Eggs will bring alternate views of a pair of songs on the first DVD, while the last is a goofy portion of the 2nd disc’s interview. The only bummer about this collection is that the extra songs from both nights aren’t present. However, Eagle Rock thankfully put this on two discs, not three. Someone is thinking out there.
This DVD is an experience, and a well-filmed one too - “Trilogy” easily tops “In Orange” and “Show” as The Cure’s best visual effort. A concert film full of droning gloom that is surprisingly countered with confident highs, it works for both the average goth and the newcomer. The Cure can look back proudly at these memorable shows with the knowledge that they delivered their best work well. Luckily for us, “Trilogy” captures that for posterity.
Reviewer’s Opinion: BUY IT!!
Loading ...
Leave a Reply