The aftermath of Altamont mixed legal maneuvering with moral outrage: San Francisco authorities struck a controversial deal with the Stones’ camp and the film’s makers in which the city agreed to drop any potential charges against the band in exchange for a copy of the Maysles’ footage of the concert. That same footage became central to the prosecution of Hells Angel Alan Passaro, who was charged with Meredith Hunter’s murder. The movie sequence—credited by Albert Maysles to cameraman Baird Bryant (with other sources also naming Eric Saarinen)—was used to reconstruct the episode in the public mind and in court. At trial, jurors ultimately acquitted Passaro, reportedly persuaded in part by evidence about Hunter’s conduct and the autopsy finding methamphetamine in his blood; jurors were said to have seen Hunter as the aggressor. The legal resolution did little to blunt the scandal: the deal to hand over raw, incriminating footage raised ethical questions about bargaining with a municipality for legal immunity, the role of documentary film as evidence, and the extent to which celebrity and managerial power insulated rock stars from accountability. The episode left a long legacy of suspicion about how the Stones’ management, high‑profile lawyers such as Melvin Belli (who appears negotiating logistics in the film), and civic authorities handled the catastrophe.
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