In the interests of full disclosure, I love the 1960s. I would never miss “Mad Men,” and bands like Jefferson Airplane and The Who take up copious amounts of space in my iTunes library. So “Taking Woodstock” appeared to be right up my alley.

Based off Elliot Tiber’s 2007 autobiography “Taking Woodstock: A True Story of a Riot, a Concert and a Life,” Ang Lee’s latest film offers a portrait of a unique time in

American social history. But rather than focus on the story everyone knows (the music), Lee zeros in on the process of getting there and one man’s experience being at the forefront of it all.

During the summer of 1969, Tiber (Demetri Martin) moves back home to help with his parents (Imelda Staunton and Henry Goodman) manage their hotel, the El Monaco, for the upcoming resort season in Bethel, New York. Faced with almost certain foreclosure, Tiber makes a fateful decision to call Woodstock Ventures and offer up his own event permit for the festival. Insanity ensues as legendary concert promoter Michael Lang (Jonathan Groff) and his team set up camp at the El Monaco and promptly clash with the locals.

Oh yeah, there’s a concert in there too.

But what’s happening onstage isn’t of much concern (we all know how that turned out).

The film eschews general concert shenanigans for planning details and just taking in the scene, man. Much attention is paid to Tiber exploring the concert scene (though none of the bands make an appearance) and learning about himself in the process. Never one to devolve into slapstick, Lee mines smaller everyday moments for comedic potential. But this being the 1960s, it does involve the obligatory LSD trip and scene involving “special” brownies.

The casting uses to the actors to the best of their abilities. Martin is the perfect choice for timid Eliot, and Levy does his thing in his fatherly neighbor role. Amusing supporting turns are provided by Liev Schreiber as a heat-packing transvestite and Emile Hirsch as a Vietnam vet. As a team, the actors work well together, giving a genuine sense of interplay and community.

Lee is at his best creating a world filmed through a sunlit haze of nostalgia, and focusing

on the personal interactions. He knows how to make even the most mundane aspects of event planning interesting. At times, he splits the screen into two or three sections, showing the action from multiple viewpoints.

“Taking Woodstock” weaves in pathos and humor, while showcasing one man’s front- row seat to rock history.