PETE SEEGER: THE POWER OF SONG
 
Opening this Friday, November 9th    
at the: 

Laemmle Music Hall
9036 Wilshire Blvd.
Beverly Hills 90211
310-274-6869 
 HYPERLINK "http://www.laemmle.com/"www.Laemmle.com 
 
Screening Times: 
 5:10 PM - 7:30 PM - 9:50 PM 
 
You can watch the trailer at:  HYPERLINK
"http://www.PowerOfSong.net"www.PowerOfSong.net   

Cast & Credits
Featuring Pete Seeger, Toshi Seeger, Bob Dylan, Bruce Springsteen,
Natalie Maines, Tom Paxton, David Dunaway, Joan Baez,
Bess Lomax Hawes, Ronnie Gilbert, Jerry Silverman, Henry Foner, Eric
Weissberg, Arlo Guthrie, Peter Yarrow, Mary Travers,  
Julian Bond, Tommy Smothers and Bonnie Raitt.
The Weinstein Company presents a documentary directed by Jim Brown.
Running time: 93 minutes. No MPAA rating (suitable for all ages).


 Roger Ebert's Review: 
PETE SEEGER: THE POWER OF SONG
**** Stars
I don't know if Pete Seeger believes in saints, but I believe he is one.
He's the one in the front as they go marching   in. "Pete Seeger: The
Power of Song" is a tribute to the legendary singer and composer who
thought music could be a force for good, and proved it by writing songs
that have actually helped shape our times ("If I Had a Hammer" and
"Turn, Turn, Turn") and popularizing "We Shall Overcome" and Woody
Guthrie's unofficial national anthem, "This Land Is Your Land." Over his
long career (he is 88), he has toured tirelessly with song and stories,
never happier than when he gets everyone in the audience to sing along.

This documentary, directed by Jim Brown, is a sequel of sorts to Brown's
wonderful "The Weavers: Wasn't That a Time" (1982), which centered on
the farewell Carnegie Hall concert of the singing group Seeger was long
associated with. The Weavers had many big hits circa 1950 ("Goodnight
Irene," "Kisses Sweeter Than Wine") before being
blacklisted during the McCarthy years; called before the House
Un-American Activities Committee and asked to name members of the
Communist Party, Seeger evoked, not the fifth, but the First Amendment.
The Weavers immediately disappeared from the playlists of most radio
stations, and Seeger did not appear on television for 17
years, until the Smothers Brothers broke the boycott.

But he kept singing, invented a new kind of banjo, did more for the
rebirth of that instrument than anyone else, co-founded two folk-song
magazines, and with Toshi, his wife of 62 years, did more and sooner
than most to live a "green" lifestyle, just because it was his nature.
On rural land in upstate New York, they lived for years in a log cabin
he built himself, and we see him still chopping firewood and working on
the land. "I like to say I'm more conservative than Goldwater, Wikipedia
quotes him. "He just wanted to turn the clock back to when there was no
income tax. I want to turn the clock back to when people lived in small
villages and took care of each other."

With access to remarkable archival footage, old TV shows, home movies
and the family photo album, Brown weaves together the story of the
Seegers with testimony by admirers who represent his influence and
legacy: Bruce Springsteen, Bob Dylan, Natalie Maines of the Dixie
Chicks, Tom Paxton, Joan Baez, Arlo Guthrie, Peter Yarrow, Mary Travers,
Julian Bond and Bonnie Raitt. There is also coverage of the whole Seeger
family musical tradition, including brother Mike and sister Peggy.

This isn't simply an assembly of historical materials and talking heads
(however eloquent), but a vibrant musical film as well, and Brown has
remastered the music so that we feel the real excitement of Seeger
walking into a room and starting a sing-along. Unique among musicians,
he doesn't covet the spotlight but actually insists on the
audience joining in; he seems more choir director than soloist.

You could see that in 2004 at the Toronto Film Festival, in the "final"
farewell performance of the Weavers, as he was joined onstage by
original group members Ronnie Gilbert and Fred Hellerman, who go back 57
years together, and more recent members Erik Darling and Eric Weissberg.
Missing from the original group was the late Lee Hays, who
co-wrote "If I Had a Hammer."

The occasion was the showing of an interim Brown doc, "Isn't This a
Time," a documentary about a Carnegie Hall "farewell concert" concert in
honor of Harold Leventhal's 50th anniversary as an impresario. It was
Leventhal who booked the Weavers into Carnegie Hall for the first time
in the late 1940s, and Leventhal who brought them back to the hall when
the group's left-wing politics had made them victims of the
show-business blacklist. Although Seeger has sung infrequently in recent
years, claiming his voice is "gone," he was in fine form that night in
Toronto, his head as always held high and thrown back, as if  focused in
the future.

Sadly, for many people, Seeger is still associated in memory with the
Communist Party USA. Although never a "card-carrying member," he was and
is adamantly left-wing; he broke with the party in 1950, disillusioned
with Stalinism, and as recently as this year, according to Wikipedia,
apologized to a historian: "I think you're right.  
 I should have asked to see the gulags when I was in the USSR."

What I feel from Seeger and his music is a deep-seated, instinctive
decency, a sense of fair play, a democratic impulse reflected by singing
along as a metaphor. I get the same feeling from Toshi, who co-produced
this film and has co-produced her husband's life. How many women would
sign on with a folk singer who planned to build them a cabin to live in?
The portrait of their long marriage, their children and grandchildren,
is one of the most inspiring elements in the film. They actually live as
if this land was made for you and me.

 HYPERLINK
"mhtml:mid://00000150/!CID:\{D8D2903B-FDA2-49D8-BFE3-C9B0074C3964\}/PETE
SEEGER.jpg"

 





 


 


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