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U2 3D U2 3D立體演唱會

Some people just won’t stop believing in the romance of rock. Hip-hop and dance pop are more innovative; country has a more loyal audience; Josh Groban makes way more money. But being a rock fan is just like getting seduced: You have to believe that your partner is the most potent lover out there. So people still pump their fists for middling talents like Nickelback and keep swooning for the great ones, like U2, years after their sell date should have expired.

Given rock’s erotic pull, it’s fair to compare “U2 3D,” U2’s foray into 3-D digital film technology, to a shot of Viagra. And guess what? The potency drug does its job: 85 beautifully paced minutes of crystal clear, artfully lit shots of Bono and his mates doing their inspirational thing for an arena crowd whose joy surges forth like a tiger in an Imax nature presentation is enough to renew the spark with longtime fans and draw in kids who otherwise might not go for older men.

But it’s a strange ravishment. U2 has based its phenomenally successful career on the other kind of Romanticism: the belief that intensely wrought personal expression can unite people and change the world. In “U2 3D,” this message comes across through shots of band members on catwalks that immerse them in the crowd — they stand alone, supreme individuals, supported by a mass of loving bodies. “We’re one, but we’re not the same,” sings Bono in “One,” expressing the philosophy of both classic rock and liberalism. “We’ve got to carry each other, carry each other.”

Physical experience drives home this message. Screen images, even ones that lunge out at you, can’t replace the sweat and din of thousands of fellow fans turned toward those anointed figures channeling all that energy onstage.

“U2 3D” comes very close, though, thanks as much to Olivier Wicki’s editing as to those lunging 3-D effects. Co-directors Catherine Owens and Mark Pellington, whose work on U2’s 1992 ZooTV tour redefined multimedia-driven arena rock, use the trickery of 3-D digital technology tastefully, rarely going beyond what “the best seat in the house” would actually offer. Wicki skillfully weaves together footage filmed during several dates of a Latin American tour, though a hawk-eyed viewer will notice Bono’s myriad unexplained jacket changes.

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