Gimme Shelter (1970)
Directed by Albert Maysles
A detailed chronicle of the famous 1969 tour of the United States by the British rock band The Rolling Stones, which culminated with the disastrous and tragic concert held on December 6 at the Altamont Speedway Free Festival, an event of historical significance, as it marked the end of an era: the generation of peace and love suddenly became the generation of disillusionment.
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What critics compared Gimme Shelter to
And if Scorsese's direction draws a little deeply from his work on Goodfellas and Casino--"Gimme Shelter," which he used on both previous soundtracks, is used twice here--well, those were awfully good movies.
Billy's scenes are often set to "Gimme Shelter," with a judicious phrase from Badfinger here ("Guess I got, what I deserved"), Van Morrison there ("Comfortably Numb").
The Scorsesean aspects of The Aviator, plain to even the laziest eye, nevertheless escaped reviewers at large, so the director smacks them in the forehead with the opening image -- a luxuriant lateral pan with Jack Nicholson narrating in the shadows, "Gimme Shelter" blasting on the soundtrack.
Otherwise he strikes out, using a grating cover of Pink Floyd's "Comfortably Numb" that practically ruins a seduction scene between Farmiga and DiCaprio, and approaching laziness by reusing the Rolling Stones "Gimme Shelter" yet again (apparently, Goodfellas and Casino weren't enough).
You’ll have to go back to GoodFellas to find a Marty movie this fun, this enamored of language, of ethnic slurs, of “Gimme Shelter,” of explosive violence.
From the first shot of the film, accompanied by the opening riffs of "Gimme Shelter" by the Rolling Stones (a favorite of the director who has also included the song in "Goodfellas" and "Casino") the soundtrack helps tell the story.
All it needs is a montage sequence edited to “Gimme Shelter” to qualify for the Full Marty.
For two-thirds of its runtime, The Irishman resembles a Scorsese greatest-hits compilation, minus the signature ’60s and ’70s pop/rock soundtrack (“Gimme Shelter” is nowhere to be found).
With its combination of prodigious amounts of guns and drugs, a relentlessly kinetic visual style and a jam-packed soundtrack that seems to resist bursting into “Gimme Shelter” only by a Herculean display of self-restraint—pretty much the only areas that demonstrates even trace amounts of such a thing—“American Made” is a film that seems to have been custom-made to inspire reviews that will compare it to the films of Martin Scorsese.
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There’s no “Gimme Shelter,” but “War Dogs” feels like a sort of Martin Scorsese LEGO set, down to a Jonah Hill minifig with articulated middle fingers you can raise to the sky.
But, in Goodfellas, Scorsese's selection of "Then He Kissed Me", "Ain't That a Kick in the Head", "Gimme Shelter", "Monkey Man", "The Magic Bus", "What Is Life", and dozens of others proves to be invaluable.