According to the tagline, this is "a film about progress," a wordplay on the title of the new album, "Progress," but the linguistic quip misses the point. This is a film about masculinity, or to be more precise, about men who have finally found their masculinity.
Take That

Take That from the movie, which shows the group members' progress over time.

I never thought of "masculinity" as a word that might surface in the context of Take That; that it might provide an alternative perspective to "teenage-girl idols," "kitsch," "toys," "commercialism," "manipulation," "marketing machines" and "ego." Certainly not after the album cover of "The Circus," which was released before Christmas two years ago and featured the band members, then still without Robbie Williams, dressed as acrobats wearing clingy, striped sailor shirts as if they were getting ready to make the usual jokes about sexual orientation.

The plot underlying "Look Back, Don't Stare" is of course the reunion of Robbie Williams with his old friends who still bear a grudge. His departure at the height of the band's success, his decision to embark on a solo career that positioned him as the talented and charismatic member of the band, the dirt he made sure to spread about Gary Barlow and the others whose solo careers flopped while he was packing stadiums and selling millions of albums, left accounts that sorely needed to be settled. Particularly painful was his absence from a television program that sought to get the guys together and eventually prompted Gary, Mark, Howard and Jason to hook up again.

Robbie's condescending attitude toward the band from which he sprouted is a key juncture in this relationship. It also marks the moment when things turn around. From that point on, Robbie's career starts sinking while the resurrected Take That emerges improved, mature and more popular than ever. When Robbie comes groveling to those who shaped him, it is an admission of his failure and a major victory for Take That. This is how the wayward son who thought he was better is brought back to the fold. A film crew is invited to document the rapprochement.

The main difference between then and now is that Robbie does not come back to the band he fled, the consumer product that was totally crushed by producers, managers and public relations executives. He returns to a band which for the first time in its history is holding itself accountable for results and functions as a real band that knows what it wants of itself. This band is hungry for success, it has a mission, and it has independent control of its artistry. Even more important in the context of "Look Back, Don't Stare" - it has the dynamic of a band.

In this respect, the film is not different from "Some Kind of Monster," which followed events in Metallica's studio room, and "No Distance Left to Run," which followed the return of Graham Coxon to Blur. A band is a band is a band; whether it is dressed in black, freaks out over distortion and sings about justice for all and children's nightmares, bangs out Britpop anthems or prides itself on choreography, disco innovations and shrieking female fans. In all three band films, there is an internal struggle between the two leading creative forces, yin and yang: the megalomaniac with his feet on the ground - that could be Lars Ulrich, Damon Albarn or Gary Barlow - and the complex negative counterpart with the wounded ego - that could be James Hetfield, Graham Coxon or Robbie Williams - who, like Homer in "The Odyssey," just wants to go home.

The greatness of "Look Back, Don't Stare" is that it is a human drama of conflict with great emotional complexity but not only that. It succeeds in doing what until now seemed impossible: it makes you appreciate Take That.
http://www.haaretz.com/culture.....331551

With unrestricted and highly privileged access to the recording studio throughout the 12 months that followed, Look Back, Don’t Stare is a raw, intimate meditation on the process of friendship and forgiveness. A story of how a newfound personal honesty inspired the creation of a remarkable record, as an enduring document of a group of people inextricably bound by their pasts, in search of progress. It’s not about money or chart success – this is about life, imperfect relationships, trust, and the righting of wrongs.

Now a five piece once more, Take That have filmed a fly on the wall documentary charting an extraordinary last twelve months and the real story of the most exciting reunion in British pop history.

The documentary follows Gary Barlow, Howard Donald, Jason Orange and Mark Owen as they reunite with former band mate Robbie Williams, writing and recording an album together and finally confirming the reunion of all reunions to the rest of the world. The documentary reveals exactly how the reunion came about and how the band have rekindled a friendship once more as a five piece, fifteen years since they last recorded a full album together in 1995. Revealing their worries, hopes and concerns about working together again, the film shares the very private process of making their most anticipated album to date.

About Take That: Look Back, Don't Stare John Kaye Cooper, ITV Controller of Entertainment says: “We’re thrilled that our great relationship with Take That continues and they feel ITV will be able to give viewers and fans the first opportunity to see this amazingly frank and honest film about the last 12 months of Britain’s best loved band.”

The footage has been captured by Pulse. Dan Bowen, Producer, Pulse, says: "It’s exciting for us to continue our tradition of producing intimate, access-based documentaries. In Take That: Look Back, Don't Stare the film directors Fred Scott and Nick Davies have created a beautifully crafted film on an iconic band, and brilliantly captured a rare insight into Take That’s roller-coaster ride over the last 12 months, that we hope fans will treasure.”

Between them, Take That and Robbie Williams have sold over 80 million albums, played to over 14.5 million people live, won 19 BRIT Awards and five Ivor Novello awards and had 13 number one albums and a staggering 17 number one singles. This is the latest chapter of their incredible story. Their album ‘Progress’, which includes the new single “The Flood” out from MCA Music available in music stores for P459, produced by Stuart Price.
http://www.clickthecity.com/music/?p=9989

Присоединяюсь - очень хочется субтитры, хотя бы английские... Ни у кого нету?

Субтитров не нашла, видимо, они есть только у счастливых обладателей dvd. Были бы англ. - русские вообще не проблема сделать. Можно, конечно, и на слух состряпать, но это займет очень много времени, и лучше для этого нескольким людям скооперироваться.