By Jeremy Hannaford (The Cascade) – Email
Print Edition: October 16, 2013
While the genre may not be box-office gold, theatrical concert films have made serious advancements in both technology and production in the past decade. Martin Scorsese’s Shine a Light featured the use of IMAX cameras. Also, while it may have been more a cash grab than a technological advancement, Justin Bieber and One Direction were the subjects of 3D concert films which have generated large revenue. So when Metallica has a concert film featuring both those features and events happening during the show incorporated with a short film, the bar has certainly been raised.
Through the Never starts with roadie Trip (Dane DeHann) riding up to BC Place (the concert footage comes from Rogers Arena and Rexall Place but BC Place looks much cooler) on his skateboard. As he walks inside, he sees frontman James Hetfield roll up in a car spouting huge flames from the exhausts and lead guitarist Kirk Hammett’s guitar dripping blood. These small peculiar instances give the audience a taste of what is to come. After opening with one of their earlier songs, “Creeping Death,” Trip is sent out to retrieve a package from a truck that has run out of gas in the city.
Filmed in Vancouver and Edmonton in August 2012, Metallica’s highly entertaining concert was recorded with several IMAX cameras via versatile cranes and by hand. The revolving effect and constant motion created a more immersive experience unlike standard mounted cameras. Not being a big Metallica fan myself, I was still fairly entertained throughout the film and never wished to stay with just one medium. While some things made me laugh, like drummer Lars Ulrich’s ridiculous facial expressions or Trip’s repeated obliviousness to the surrounding events, it’s a new level of camera engagement for concert films.
Metallica brandish many creepy (yet intriguing) set pieces including massive coffins containing frightening people via a screen, and crosses appearing out of the stage. The incorporation of imagery helps set the tone for Trip’s story.
When “One” begins, things become very interesting. After seemingly attacking the stage with bombs and bullets via pyro effects and creative lighting, Trip comes across a battle between rioters and police officers. With images of the Vancouver riots still fresh in people’s minds, the battle brings back those images head on. The violence is brutal for a music video especially when the rider appears. As Trip’s future adversary, he strings up rioters and cops alike and hangs them across the street. Trip becomes his next target and the chase begins.
While it does play out like a fairly long music video, the editing is fantastic as it spaces out the concert and story perfectly and creates anticipation for both events. Editor Joe Hutshing really delievers an entertaining dual experience. Having worked on big pictures like Oliver Stone’s JFK and several Cameron Crowe films, Hutshing has a knack for perfect timing. He spaces out Trip’s story fluidly amongst the concert footage. He leaves the concert uninterrupted for short times when it isn’t necessary. Trip’s story is placed exactly where it needs to be, as songs collaborating with the on-screen events.
People dousing themselves in kerosene and igniting themselves to fight off the mobs and destroying the city with a massive hammer alongside “Master of Puppets” in the final act was amazing to watch. As the hammer strikes, the concert itself falls to shambles with scaffolding falling from the rafters, light projectors exploding with sparks, and stage crews catching fire and running across the stage. While some of these events have been used in previous Metallica concerts, it was very entertaining to watch them on the big screen.
Trust Metallica to push the limit when it comes to both concert performance and film production.
