Dire Straits
Making Movies

THE REVIEW

In the end, upon reaching the third album, Knopfler tires of Dire Straits and decides it's time to embark on his own solo career, leaving behind a band that never allowed him to fully express his creativity. We're talking about David, of course; Mark, the other one, dives headfirst into creating an album that changes the face of Dire Straits and propels them into the new decade dressed to impress with a promised leading role.

Upon reaching their third album, the risk of continuing in the same vein as the first two works was significant, as was the consequent natural descent into anonymity, but already upon first listen, it becomes apparent that the exquisitely melodic intro of "Tunnel of Love" ("Carousel Waltz", a melody by Rodgers and Hammerstein recovered by Mark Knopfler in some record shop) has nothing to do with the timid and quiet beginning of "Down to the Waterline" or "Once Upon a Time in the West". The difference is immediately noticeable, and it takes the duration of reaching the first bridge of "Tunnel of Love" to have everything clear in mind: Knopfler has turned a corner, realizing he can play his guitar like a magical pied-piper would with his (magic) pipe, and what awaits us in the next six tracks will have almost nothing to do with the blues-rock of the first two albums. Before tackling the subsequent pieces, however, there's time to wipe away the last doubtful expressions from the skeptical faces of those wondering if Dire Straits should have continued on their previous path. Listening to the final solo of "Tunnel of Love", one can't help but open their arms and welcome the "new" Dire Straits with all the joy in the world.

The album then offers, right in the second position just in case there were still any die-hards, what is destined to become a ballad to be taught in schools: "Romeo and Juliet" will follow Knopfler to the last of his concerts and millions of hearts to the last of their beats. An unprecedented song for good old Mark, accustomed to filling his pieces with solos and guitar phrases. Here, he limits himself to arpeggios and singing a love story. Nothing else. "Skateaway" is still an unusual piece, although Knopfler returns to handling the Fender after a serenade with the dobro: a keyboard carpet provides the backdrop to his rediscovered instrumental ramblings that weave in and out when the voice is silent. "Expresso Love", in fourth place, connects to "Tunnel of Love" and its melodies built in that romantically rock style labeled "New Dire Straits", where keyboard and guitar play cat and mouse. The subsequent "Hand in Hand" is a new ballad, darker and less airy than the monumental "Romeo and Juliet", at number two; in this case, dreams are set aside to make room for the awareness of a love that's ended. The music that constitutes this piece suggests the image of an afternoon spent indoors with the lights off while it pours outside. Probably one of the most underrated tracks in the entire career of the band since it was never performed live. The opposite is true for the sixth song, the lively "Solid Rock", which for hundreds of concerts was featured as the penultimate track on the setlist, playing the same role on this album almost as if its and its contagious energy's task were to make sure no one realizes they're nearing the end.

The end, here, is "Les Boys", which closes the album pleasantly while still representing a level drop compared to what has been heard so far. This, however, does not at all affect what is the first album of the new Dire Straits, of Knopfler without Knopfler, their red carpet (with blue edges) towards eternity.