Big Picture Big Sound

Expectations & Reactions:
The last time I saw The Kids Are Alright prior to the new DVD release was maybe 15 years ago on a local station that saw fit to chop "Won't Get Fooled Again" right in the middle of the *&%$ song, just so an extra minute or two of ad time could be sold to promote some nondescript weasel's political campaign. Needless to say the bum didn't get my vote, particularly because his media purchase added one more indecency to the long list of insults bestowed upon one of the most memorable documentaries on any subject, let alone The Who.

Love them or lump them in the dino-rock section, The Who remain one of the most fascinating acts to leave a permanent scar on popular music, thanks to an even mix of an almost telekinetically connected quartet and a catalogue mostly constructed of songs written by Pete Townshend, easily rock's answer to Duke Ellington.

No, it isn't an original sentiment, but it is a fact - no need to position it as opinion. The Who could bust a hole in a stage with their endless barrage of volume and energy, but it was the music that made the event worthwhile. Daltrey's voice provided the ideal dramatic rendering of Townshend's and occasionally John Entwistle's lyrics, while guitar, bass, and drums appeared to communicate in a distinct and assertive dialect.

Jeff Stein's The Kids Are Alright captured the core of the real Who right up until the time drummer Keith Moon "checked into that great Holiday Inn in the sky," as referenced in the booklet that was packaged with the original LP. The final cut was finished only a few weeks before Moon died from a drug overdose in September '78, from a drug originally prescribed to wean him off alcohol. The film debuted at the Cannes Film Festival in May of the following year, with the complete 109-minute version premiering in New York the following month.

From its beginnings, The Kids Are Alright was more than just a run-on snoozer of a rock doc, the likes of which could be found infesting our nation's movie screens nearly every night when the clock struck twelve in the pre-VCR days. Instead, Stein, who, in '73, was only 17 when he first approached The Who with the concept for a film biography, put extra care into creating a document that is equal parts history lesson, career anthology, and free-wheeling circus.

The Kids Are Alright enjoyed extensive major market, big-screen exposure throughout 1979, yet its presence on video symbolizes a long list of what-not-do-with-a-really-good-film scenarios. First, the widescreen image was squished to 4:3 for the RCA Selectavision disc released around 1981. Then, a cut version, missing the band's show-stealing appearance on The Rolling Stones' Rock & Roll Circus television special, somehow suffered the indignity of being sped up to 96 minutes, a la Alvin and The Chipmunks, for a print that has served as the de facto standard right up until 2003, when Pioneer announced a complete overhaul and ultimate release that is as important a cultural milestone as any other theatrically released documentary.

Look & Listen:
The film's better than average sonics and appearance are light years ahead of any version that preceded it, falling short of critical rants and raves only because the original source material is hardly up to 'phile standards. I don't mean to imply that the audio or video characteristics are not what they could be; only that modern recordings have set the bar too high for documents dating back 25 years. Only the two performances recorded specifically for the film - "Baba O'Riley" and "Won't Get Fooled Again" - live up to current standards thanks to the availability of the original multi-track masters, making it possible to re-mix for 5.1.

On the subject of multichannel, those who suffer through a second-level trivia quiz are rewarded with a new 5.1 studio mix of "Who Are You," Townshend's ode to self-doubt in the face of adulation and booze. Though neither surviving band member contributed to the updated framework, "Who Are You" achieves subtle authenticity by throwing the listener into the mix, head first, surrounded by hand claps and a wraparound effect that is as believable as any modern update of a generation-old recording. Crisp without sounding bright or clipped, with Entwistle's fuzz bass assaulting the listener from all points except the center.
Aside from assorted interviews with and about The Who, The Kids Are Alright stands out for its many complete performances of songs, some of which were re-recorded for broadcast and others performed live in the studio or in concert, particularly Woodstock, pieces of which are sprinkled throughout the film. With the focus on music, I listened carefully and somewhat dumbfounded at the earlier scenes' forward and commanding presence. Sound quality may vary, but, overall, it is consistently forward and punchy; certainly on a par with the group's recent 16-bit CD reissues.

The bulk of the performances are accumulated from TV appearances and concerts spanning nearly 15 years, with the earliest dating back to 1965. The sensible new 5.1 remixes by Andy MacPherson and Jon Astley primarily stick to the original stereo blueprint, with the center mostly a mix of the front two channels while the surrounds present subdued ambiance and assorted sound effects.

Corresponding video is only as good as what was available during a given time period, though post-production house Post Logic achieved nothing short of a digital miracle with its rehabilitation of the deteriorated negative. Colors remain even and saturated without looking touched up, and even the black & white footage is reasonably crisp, especially on pre-MTV promo films that played on British and U.S. pop shows.

Don't be fooled by the ostensibly paltry video score of 3.5. As viewers will learn from detailed accounts of the film's Hi-Definition restoration, this flick was gasping its last nicotine-soaked breath, suffering from faded stock and a general lack of interest on the part of the many corporate entities that happened to gain access over the years. The digital restoration team at Post Logic deserves whatever trophy is awarded to professionals who perform such impressive feats of rehabilitation. The visuals are as clear as the first prints produced from the bouncing baby negative back in 1979.

Extras & Highlights:
The Kids Are Alright is filled to the outer edges with all sorts of extras - some useful, some useless, but for the most part Pioneer gives consumers their money's worth with ample band-specific programs. Aside from detailed sections on how the film was rescued from the cinematic dung heap in order to give me something to write about (thanks, crew), there is a candid, highly entertaining Q&A with Roger Daltrey, who happily blows assorted myths out of the water while offering his 2.5 cents on the film, his colleagues, and his contribution to the band. A separate session with Stein appropriately delves into the story behind the film, as does his commentary track with DVD Producer John Albarian. Pick one or the other, unless "Freetime" is your middle name.

Of greater interest are the features that shed a light on the two departed Who members, Entwistle and Moon; admirable because these extras focus on their abilities, not their respective exits. Bass freaks will repeatedly flip through two isolated bass tracks, with guitars, drums, and vocals stripped away from "Baba O'Riley" and "Won't Get Fooled Again," as the camera remains fixed on Entwistle's stoic figure. Likewise, the "Moonie Cam" provides a similar focus on the drummer, who, though not in his prime, still managed to put on a searing display of percussive acrobatics while setting the rhythmic pace throughout both tracks.
Additional extras include two interminable trivia tests (does anybody really play these things?), as well as a slide show, interactive tour of "The Who's London," on-screen liner notes and subtitles, 32-page booklet with track-by-track breakdown, and a box that doubles as a coaster.* (*Not the intended use, but it works.) Regarding the aforementioned multichannel take on "Who Are You," feel free to skip the quiz by first dialing up the "It's Hard" trivia game on disc #2, then flipping your remote button to the left a total of six times. Likewise, a radio ad featuring Ringo Starr can be found by following a similar procedure when first highlighting the "Pure and Easy" quiz, also on disc #2.

Menus & Interface:
No time to watch the whole film? Then slip the disc in the tray for a dazzling overview of its contents. Brief, well-edited clips sweep onto the screen as "Who Are You" blares in the foreground and options pop up near the bottom.

Storyline & Syllabus:
The story of The Who is told through archival footage as well as interviews and performances conducted exclusively for the film.

Cast & Crew:
The Who
Roger Daltrey: vocals
John Entwistle: bass and vocals
Keith Moon: percussion
Pete Townshend: guitar and vocals
Also featuring appearances by Tom Smothers, Steve Martin, Ringo Starr, Ken Russell, Russell Harty, and many others
Jeff Stein: director and writer
John Entwistle: musical director
Ed Rothkowitz: editor
Bill Curbishley: co-producer
Tony Klinger: co-producer
Jon Astley: new audio mix, master
Andy MacPherson: new audio mix
Larry Yore: Hi-Definition transfer

Conclusions & Afterthoughts:
There is no better treat for a Who fan than The Kids Are Alright, presented by Pioneer Entertainment in all its supersonic glory. Stein's inspired fan perspective ensures reverential treatment that never slips into sycophancy, thanks to the self-deprecating band members themselves as well as the emphasis on music over commentary. Play it loud. The neighbors will get over it.

Video Format: Anamorphic 1.85:1 Widescreen
Audio Format: Dolby Digital 5.1, Dolby Digital 2.0, DTS 5.1
DVD Format: 2 DVD-5 Discs
Language Tracks: English
Subtitle Tracks: English
Length: 109 minutes
Rating: Not Rated
Release Date: September 30, 2003
Packaging: Keep Case
Region Code: 1
Studio: Pioneer Entertainment
Catalog Number: 12103
UPC Code: 0 13023 21039 4