When Mick Jaggercommissioned Robert Frank to shoot a documentary of the Rolling Stones'1972 American tour, clearly he hadn't studied Frank's photographs, orhis films. Cocksucker Blues has the raw immediacy of The Americans, thesame unblinking observation of the impossible unfolding before one'seyes, but the unflattering picture it painted was too much for Jaggerand the Stones. The film was suppressed and never released. CocksuckerBlues is a portrait of the Rolling Stones, on-stage, where they arenever less than riveting; and backstage, where groupies and drugs,boredom and alienation immerse the band in a bizarre and painfuluniverse. This is a film about exhibitionism and voyeurism, narcissismand parasitism, a film about the death-defying stu- pidity and the pettyantics of the very talented. In its way, it is also a film about theartist Robert Frank, who implicates himself somewhere in the process-wesee him peeking 'round corners, caught in mirrors holding his pryingcamera. And like Frank's life-work, it is a film about movin' on-it wasthe artist who convinced Jagger to take a car trip south, to Nashville,where the British Stones explore a little bit of Robert Frank's America.