Taking Woodstock

Thoughtful and nicely played by a wonderful cast, this is Lee firmly switching gears and mostly succeeding.

After the intense sexual exploits of Brokeback Mountain and Lust, Caution, it seems Ang Lee felt like tackling something far lighter. That's not to say Taking Woodstock is a film without substance - far from it - but in comparison to Lee's last two efforts, this is Cheaper by the Dozen 3. Leisurely pacing, an engaging lead and a plot that is very much driven by peripheral characters as much as newcomer Demetri Martin, make this concert well worth checking out. However, those looking for a film full of performances from the famous festival will leave sorely disappointed, as the music is merely wallpaper to the folk who made the great event happen.

It's 1969 and Martin is Elliot Tiber, one of the men who would be instrumental in bringing Woodstock to his small town of Bethel, New York, after the organisers were banned from hosting it in other areas. He and his family run the struggling El Monaco Motel, while the enterprising Elliot also serves as President of the Bethel Chamber of Commerce, and commutes between his modern apartment in the city and his parents place to help out. When Woodstock comes to town, it brings with it an eclectic mix of hippies and hipsters, as well as those just looking for a good time. Despite this, the town's people are not happy with what having hundreds of thousands of people around will do to their municipality, and lash out at Elliot, who learns as much about himself as he does about those he previously saw as friends.

This really is a film that takes its time, and that is bound to annoy some hoping for more rock 'n' roll for their buck; but Taking Woodstock works mainly because of its characters and overtly simplistic storyline. Lee realises that there is no use in over directing a film that works so well with subtlety, and instead casts wonderfully across the board. Martin is known primarily as a stand up comedian, but gives a measured and fine performance here as the dutiful son, struggling to let his parents know who he really is; while Imelda Staunton is typically amazing as his abrasive mother.

It does drag a bit too much towards the end, and invariably some of the more interesting supporting characters aren't given enough real screen time time, but this is still a lovely production, and it doesn't try to be anything other than that.