As it turns out, the elephant is ultimately used as a distraction for guests when the staff needs to carry out the body of an actress who died during the party. “Babylon” is clearly not afraid to thrust the audience into the boisterous reality it imagines, and once it brings on the noise, it refuses to quiet down.

The film, the latest from Oscar-winner Damien Chazelle ‘07, follows the careers of several individuals working in the cutthroat film industry of the 1920s. Chazelle, who graduated from Harvard College and whose previous credits include the critically-acclaimed films “Whiplash” and “La La Land,” turns in another gem, this time greater in scope but reminiscent of his earlier works in how carefully it chronicles the rise and fall of its central characters.

For a film that runs over three hours long, it is also masterfully paced, as its vivacious nature ensures that it is never in jeopardy of losing steam. Also touting superb editing, creative utilization of music, and a fascinating story that offers a rare indictment of film culture itself, “Babylon” ironically positions itself to be the film of the year.

In “Babylon,” careers burn bright and they die, unceremoniously. As such, after his moment in the spotlight has expired, Jack Conrad desperately tries to recall the good: “It was the most magical place in the world, wasn’t it?” But Jack’s query may unfortunately be stabbing at a revisionist history, or perhaps no history at all. By the time the credits roll, Damien Chazelle has magnificently filled our screen with an epic that alters the way we perceive the screen itself.

“Yeah I know now what I knew then,” he screamed three times as the song came to a climax.

They played tracks from “The Lonesome Crowded West” in order. Brock spit out the words to the first song “Teeth Like God’s Shoeshine” — the lyrics were almost incomprehensible, but that didn’t matter to the headbanging crowd. The performance was hard rock — energetic, loud, and crazy due to the guitars soundingThe opener also contributed to the light hearted atmosphere before Modest Mouse’s set. The performer, who goes by the name Mattress, performed gothic experimental EDM music. He wore a gold suit and jewel-encrusted dress shoes that must have touched every part of the stage as

Green was essential too, even when the set slowed down during the last two songs, “Bankrupt on Selling” and “Styrofoam Boots/ It’s All On Ice, Alright,” played mostly acoustically. The headbangs turned into sways, and people in the crowd took out their lighters. These two songs were the highlights of the set, as they stood out so drastically from the crazy energy of the first thirteen songs. The last song began with Brock on acoustic guitar playing a folk fingerpicking pattern, but Green joined back in on drums about halfway through, and Brock started screaming again. They couldn’t let it end on a soft asher.montgomery@thecrimson.com

At the end of the set, Mattress thanked Modest Mouse and told the audience to get ready for their performance. “They are going to make you cry,” he said. This statement proved to be true.

“The Lonesome Crowded West” deserved a tribute anniversary tour. The album transcends genre boundaries, not clearly falling into any category, but touching on blues, grunge, folk rock and many more, not to mention the level of comfort and enjoyment each of the members has on stage after so many years of performing.