“Stop Making Sense” is making a comeback this September, 40 years after it’s initial release. There’s an expanded audio album out today, and a new version of the film premiered at TIFF this Monday.

To some it may seem like a comeback, but for many like me, it never left. This film has meant so much to me in my life: it’s like a good friend I met in college who stayed close to me four decades later. I can watch it any time, anywhere, and I often have since it first came out. Unlike me, it’s timeless, even four decades later.

But don’t just take my word on it. Read this great piece by Jon Pareles in The New York Times, Talking Heads on the Return of ‘Stop Making Sense’, and you should see why I think so highly of it.

One thing he seems to bypass that makes the film great is the fact that it was directed by Jonathan Demme. Demme was coming into his own when he filmed it, not unlike Martin Scorsese was when he made “The Last Waltz” with the Band. His talent is what transforms a great show into a great film. Later Demme went on to make other concert films of Neil Young and Justin Timberlake, but neither of those had the impact that “Stop Making Sense” did. You need a groundbreaking show for that.

And it was groundbreaking. Before the cameras start, David Byrne already had a vision of what it would be like. He had been gathering ideas from other artists like Robert Wilson (whose lighting designer, Beverly Emmons, he used) and Twyla Tharp (worked with her on The Catherine Wheel), not to mention Japanese Kabuki theatre (where he got the idea for the Big Suit).  He had a vision of how everyone should look on stage (dressed in drab grays). He had a storyboard for each song performed. And while he didn’t have a choreographer, he had a ton of talented performers who brought their own moves to the performance. All that, combined with the narrative of the film, makes it compelling to watch.

Pareles believes the narrative is…”of a freaked-out loner who eventually finds joy in community. The concert starts with Byrne singing “Psycho Killer” alone, to a drum-machine track, with a sociopathic stare. By the end of the show, he’s surrounded by singing, dancing, smiling musicians and singers, carried by one groove after another.” And that is partially the narrative.  But it’s also a narrative of the band itself, a story of a small stiff group of “slightly angsty white” art school students that grew into a large ensemble capable of fluidly and energetically incorporating punk, funk, new age, world, R&B…you name it…onto one stage for 90 minutes of eclectic dance music. It’s smart, it’s gotta beat, and you can dance to it.

If you think of “Stop Making Sense” as a documentary or an art piece, you’ll be missing out on the fun. And fun it is. It’s been playing off and on at the Bloor Cinema / Hot Doc cinema on Bloor near Bathurst in Toronto since the time it came out, and everytime people go they treat it as more like a concert than a film. If you ever have the chance to see the it in that theatre, grab a ticket and an adult beverage and you’ll see what I mean.

I think the film is best described by the second song in the film, “Heaven”. Just like in song, the band in this film plays your favorite song. Everyone is there. When the film is over, everyone leaves, only to return to the next showing of it. It plays again, exactly the same. It will not be any different. Byrne wrote, “It’s hard to imagine that nothing at all, could be so exciting, could be so much fun”. And yet it is. The film is heaven to me.