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The one I found had long since lost most of its color and clarity.Plenty of scenes are blurry messes of blue and white splotches, and often it’s hard to tell who’s doing what act of debauchery.With Special Guests: Eagle-eyed viewers will spot Andy Warhol snapping pictures of the band, and Truman Capote and Tina Turner hanging out backstage.But that all pales before the musical hurting Stevie Wonder puts on the Stones, first on his own “Uptight (Everything’s Alright)” and then when he joins the band for an absolutely crazy version of “Satisfaction.” Best Performance: As mentioned earlier, “Cocksucker Blues” contains few musical performances, and even fewer complete ones.According to , when Jagger saw the result for the first time, he remarked, “It’s a beautiful film, Robert, but if it ever shows in America, we’ll never be allowed there again.” Frank battled the Stones for control of the film, but the best he ever got was the right to screen it once a year as long as he was in attendance.

By Matt Singer In honor of their 40 years on movie screens, starting with 1968’s “Sympathy for the Devil,” and continuing on with “The Rolling Stones Rock and Roll Circus” and 1970’s “Gimme Shelter,” we’re taking a look at The Rolling Stones’ filmography, featuring enough collaborations with great directors to make any actor jealous and enough abandoned or aborted projects to give any movie investor heartburn.In our final tour date, we offer the rarely screened “Cocksucker Blues” and an encore featuring the Stones’ most recent cinematic return to the stage, “Shine a Light.” Cocksucker Blues (1972) Directed by Robert Frank The Film: Returning to the United States for their first American tour since 1969 (covered in all its glory and tragedy in “Gimme Shelter”), the Stones hired filmmaker Robert Frank to document the trip.Frank gave cameras to all the members of the band to record their own experiences, and then edited their footage together on his own.Though the ’72 tour is widely considered one of the Stones’ best, “Cocksucker Blues” is less a chronicle of the band’s rock and roll triumph than of their druggy attempts to stave off boredom in between performances.But there are fiery bits of “Street Fighting Man” and “Midnight Rambler” and a raucous version of “Happy,” no doubt included for the peppy, ironic counterpoint it provides to the tedium of life on the road that the majority of the documentary details.

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