heads and tails”, “Romanin, the other Jean Moulin”, “The Business of Happiness”… Weekend replays
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THE MORNING LIST
This Saturday, the hidden face of myths, stars and cases of which we thought we knew everything: The Who, unsinkable rockers, Jean Moulin, genius cartoonist, the Florence Cassez affair, of which Netflix reveals the backstage. For its part, Arte offers us a poetic dive into the heart of New York, to see how the Big Apple overcame the big glitch of Covid-19. And this incoercible “right to happiness”, written in full in the Constitution of the United States and which has now become a business matter.
The Who, rock sensation turned institution
Christophe Conte tells the story of one of rock’s most important bands, with guitarist Pete Townshend as the “master thinker” of a flamboyant epic. A British group born in 1964, which assembled the rhythm’n’blues influence of its beginnings in pop, had its psyche period, recorded concept albums: The Who Sell Out (1967) with commercial parodies, rock-operas tommy (1969) – brought to the screen by Ken Russell in 1975 – and Quadrophenia (1973) on the life of a somewhat lost young man in the 1960s.
A band whose song My Generation, in October 1965, will be the evocation of the anger of British youth. A group often considered, for the strength of its music, its angry approach, as heralding the hard rock wave of the early 1970s, which was one of the rare groups of ” old “ that British punks did not vomit in the late 1970s. And who continues to tour, in 2022, the oldest English rock band still active with the Rolling Stones.
“It’s musical sensationalism. We do awesome things on stage and all of our fans go, “Aaahhh!” », summarizes Townshend, composer and main author of almost all of the repertoire. On stage, he connects ample reels on the ropes. Roger Daltrey, the singer, throws his microphone in the air and catches it, constantly moving. On his double bass drum drums, drummer Keith Moon (1946-1978) played constantly on all the toms, pinging the cymbals. Only bassist John Entwistle (1944-2002) remained almost motionless. Rather than accumulating dozens of testimonies in a choppy montage, through a number of musical documentaries, it is only to Pete Townshend that director Christophe Conte gives the floor. This gives coherence to a set that focuses on the essential, the music and the creative act. Sylvain Siclier
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