Joplin lets loose a version of 'Cry Baby' that should stand as one of the great performances in any concert film.
Festival Express (2004)
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Reviews Counted:74
Fresh:71
Rotten:3
Average Rating:7.6/10
Consensus: Festival Express is a spellbinding documentary that nostalgically chronicles five days in the summer of 1970, when a train full of now- legendary rock perfomers jammed its way across Canada.
Theatrical Release:Jul 23, 2004 Limited
Box Office: $908,932
Synopsis: In 1970, a train journeyed across Canada carrying some of the greatest rock bands of the time. Janis Joplin, The Band, The Grateful Dead, Delaney & Bonnie, Buddy Guy, Ian & Sylvia and others lived... In 1970, a train journeyed across Canada carrying some of the greatest rock bands of the time. Janis Joplin, The Band, The Grateful Dead, Delaney & Bonnie, Buddy Guy, Ian & Sylvia and others lived (and partied) together for five days, giving concerts where and when they stopped. The train was called the Festival Express. Festival Express might just have been the greatest, and certainly the longest, non-stop rock n' roll party ever. Nicknamed "The Million Dollar Bash" by Rolling Stone magazine, Festival Express was designed to capitalise on the then-burgeoning craze for multi-day, talent-heavy music festivals. Following in the footsteps of Woodstock, by the summer of 1970 such festivals were a regular part of the rock n' roll landscape. Festival Express was planned as a festival with a difference -- it would be portable. The artists would be showcased at festival sites spanning the breadth of the Canadian heartland, from Toronto to Calgary -- and transportation was by chartered train. This proved to be a stroke of genius, indelibly stamping the event with an aura of magic, as a large number of the performers signed on despite being offered fees substantially below their going rate. The musicians thought the train ride sounded like the "party to end all parties". -- © Festival Express Productions [More]
Starring: Grateful Dead, Janis Joplin, Band, Ian & Sylvia
Starring: Grateful Dead, Janis Joplin, Band, Ian & Sylvia, Buddy Guy, Flying Burrito Brothers, Sha Na Na, Delaney & Bonnie
Director: Bob Smeaton
Director: Bob Smeaton
Producer: John Trapman
Studio: ThinkFilm
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Release:
Nov 2, 2004
Reviews for Festival Express
With her whiskey-marinated, desperate-for-love, full-tilt blooz mama wildcat yowl still intact, Janis Joplin is the best thing about this film...
A time of innocence and hope was rolling away like a train leaving the station, and “Festival Express” gives it a fond farewell.
The road doc format's nothing new, but it preserves such a brief, precious moment in rock history that it'll have fans captivated.
There are sterling concert performances by several bands in peak form.
A delirious piece of pop ephemera, a time capsule set on the cusp between the Summer of Love and the Day the Music Died.
What's most revealing and human about Festival Express are its candid looks at artists bonding aboard the choo-choo.
Here's a chance to listen to the soundtrack for the social upheaval of the late '60s and early '70s.
Filled with some classic rock coments, this fascinating social document should appeal to everyone.
Climb aboard this train, it's an entertaining ride... Some of these musicians may be gone, but they won't be forgotten as long as footage like this exists.
For Joplin fans, this is an absolute must-see. Her soulful renditions of Cry Baby and ... Tell Mama may be the most telling Joplin concert footage ever captured.
A treasure for baby-boomer rockers and a miniature history lesson for younger music fans.
This is the film's most interesting angle: the tension that arises as rabble-rousers fight with cops and rail against the promoters who dared to charge $16 for a daylong concert.
The artists and audiences obviously had a great time at the Festival Express a quarter-century ago, and you'll probably have one at 'Festival Express' today.
The musical performances are the heart of the movie and it's a toss-up whether the spontaneous jams captured on the train or the classic acts on stage are more thrilling.
A fascinating time capsule of unseen moments from the 1960s, both the musical ... and the sociological as the cream of the musical counterculture comes face to face with its own greedy, bullying fans.
The result is satisfying, anchored by wonderful performances, including an aching rendition of Bob Dylan's 'I Shall Be Released' with Manuel singing and Guy's smoking-hot version of 'Money.'
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