Is 'Stop Making Sense' the greatest concert film? 40th anniversary restarts conversation

Jonathan Demme's groundbreaking concert film "Stop Making Sense" enters its second week of revival at Ragtag Cinema this weekend. It's the 40th anniversary of the Talking Heads showcase, and the film has received a glorious 4k restoration.

To understand why the film and the band remain relevant, I forced my editor to engage in a conversation with me. His perspective as a "music guy" and my perspective as a "movie guy." Let’s see what happens.

James Owen: Why is it that we're still talking about the Talking Heads in 2023? In some ways — with David Byrne's Broadway show and songs being featured in film and on ads — they seem as hot as they've always been.

Aarik Danielsen: A few elements come to mind. In our moment, we face a real deficit of color and joy — maybe not more or less than any other moment, just particularly so. While Talking Heads songs can be complex, even esoteric, they are presented on stage as these acts of pure delight and self-expression. The moments captured in “Stop Making Sense” and Byrne’s “American Utopia” realize a vibrant, collective vision and approach, even if briefly, some values I think we all find absent in daily life.

Also, the Talking Heads stumbled into a sweet spot when it comes to nostalgia. They are willing to revisit past glories, but there’s very little chance the band will get back together. So audiences can enjoy their work as this still-living thing without the experience being tainted by some subpar new record or embarrassing cash-grab tour. We don’t have to entertain a host of what-ifs or, worse yet, has-beens.

And, of course, these songs still hit. The band was grounded in soul, funk and African music, but unspooled its sound in a way that felt almost futuristic. I think we’re still catching up to songs like “Once in a Lifetime.”

JO: I think they were ahead of their time, if the movie is any indication. Or maybe they just set a trend that concert films still follow. Demme eschewed backstage interviews and other footage not associated with the concert. He put the camera on stage to capture moments between the musicians. That was very new at the time, and now we're just used to that look. It's the first time a concert film felt cinematic.

Also, I am not sure if this was designed for the film or it just happened to be the setlist, but the songs build a character for David Byrne. He goes from being a loner to the life of the party. It feels deliberate, but I was also reading Byrne storyboarded the concert like a filmmaker and incorporated concepts from kabuki theater and added avant-garde flourishes. Maybe it was just an ideal pairing of filmmaker and musician.

Does the film help you connect with music differently than you would if you were just listening to an album?

AD: Absolutely — and, as you hinted at, that's not always the case with concert films. Sometimes they feel extraneous; this one feels essential. Demme really plays in tune with the band, and the sort of art-school theatricality they embraced really augments their music. It feels as though these songs were meant to be lived in, not just heard.

I know, for many Talking Heads fans, the "Stop Making Sense" versions of certain songs are the definitive ones. And, in the case of a "Take Me to the River" or even the stripped-down "Heaven" Byrne and Tina Weymouth play early on, that's true of me too.

JO: It's no wonder the band met in art school! But yeah, what Demme does is adds real drama to the show. There's real craft into how each musical instrument is introduced. There’s a suspense when each piece of the stage rolls out.

But I also think there's something to Byrne as a performer. He's not just a lead musician, but he's a lead actor. He knows that role. He knows when to play to the camera and when to play to people on stage. It's interesting to me that the filmed version of “American Utopia” captures this as well. Spike Lee directed that and he and Demme have distinctive styles. But their cameras love the guy!

The screening I saw at Ragtag was nearly sold out. People were singing along and cheering. The aisles are too narrow to dance. I didn’t even mind the drunk people next to me! After I saw this new version, I became convinced it’s the best concert film ever made. What do you think about that hyperbolic statement?

AD: It is the gold standard to me. Now, like albums themselves, other concert films meet me in different moods. "The Last Waltz" is a great film to watch if you're feeling a little sad and contemplative, a little woozy, maybe a little overindulgent. "Rattle and Hum"speaks to the overly earnest part of me. The more recent Aretha Franklin film "Amazing Grace" is incredibly uplifting. But "Stop Making Sense"feels complete and transcendent in a way I've never seen any other music film touch.

JO: The gold standard — until Taylor Swift's concert film comes out in about a week! (Note: I am legit excited about that.)

AD: Fair! There's your mashup between your football and music series: Taylor Swift and your favorite Kelce.

JO: I am telling you, the pair could be bigger than Barbieheimer!

Even if you’ve seen it before, “Stop Making Sense” demands another look in this glorious reworking of its frames and sound. It was truly my favorite experience in a movie theater all year. Go see it this weekend and start your own conversation about it.

James Owen is the Tribune’s film columnist. In real life, he is a lawyer and executive director of energy policy group Renew Missouri. A graduate of Drury University and the University of Kansas, he created Filmsnobs.com, where he co-hosts a podcast. He enjoyed an extended stint as an on-air film critic for KY3, the NBC affiliate in Springfield, and now regularly guests on Columbia radio station KFRU.

This article originally appeared on Columbia Daily Tribune: 40th anniversary of 'Stop Making Sense' offers chance to talk about Talking Heads