My comments on Peary’s reviews in Guide for the Film Fanatic (Simon & Schuster, 1986).
“Listen to me, my darling — you’re not that bad.”
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Response to Peary’s Review: Note: Peary writes that this film “ranks with De Sica’s Shoeshine” — which he adores — but I find Bunuel’s non-sentimental approach more impactful than De Sica’s. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
“I don’t want to be the same as everybody else! That’s why I’m a Mod, see?”
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Response to Peary’s Review: Given that most film fanatics these days weren’t alive in the 1960s, Quadrophenia may hold less personal appeal — though it remains a potent depiction of a “character we can all identify with”, someone who “represents all youths in the throes of growing pains, in desperate search for their identities”. As uncredited screenwriter Pete Townshend said in an interview:
Perhaps most representative of adolescent angst is beautiful Steph (Ash), an embodiment of the toxic MGTOW movement in that she “marries up” as soon as a new bloke holds dominance or interest. Daniels’ pain and bewilderment at Ash (and at life in general) are completely understandable, given he’s someone who “doesn’t fit in anywhere because he tries too hard to be different” and is “always more excited, angrier, or more frustrated than anyone else; to him every moment has great significance”. His final sequence with Ace Face (Sting) is an appropriately crushing denouement. Redeeming Qualities and Moments:
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“He hears but cannot answer to your call.”
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— is “ambitious, flamboyant, and at times imaginative, but eventually the succession of wild, colorful, and sometimes disgusting images wears you down”. He argues that “the picture’s about 40 minutes too long”, and that “another problem is that the score by Pete Townshend (with help from John Entwhistle and Keith Moon) doesn’t compare to the best Who music.” I’m in agreement with Peary’s assessment, and find it surprising that Ann-Margret — playing Tommy’s “tormented, heavy-drinking mother” — was nominated for an Oscar (presumably due to her multiple age-portrayals and impressively high level of dramatic “commitment”).
With all that said, this film is much too creatively staged and shot not to be seen at least once — and fans will likely enjoy repeat visits. Redeeming Qualities and Moments:
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“I’m very happy to say we think the people of this country should be proud of these kids, notwithstanding the way they dress or the way they wear their hair — that’s their own personal business.”
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Response to Peary’s Review: There is much to enjoy about this engaging, smartly crafted documentary — but perhaps most impressive is how thoroughly the filmmakers provide as many perspectives on the event as possible. We hear from disgruntled neighbors, but also surprisingly generous and kind locals, such as those who stepped up to help feed the hungry crowds, or the cheery Port-a-San janitor who states he is “glad to do [his work] for these kids”. We see plenty of “turned on” participants having the time of their lives — but also listen to one distressed young woman desperate to escape the crowds. We hear a tireless worker sharing a hilariously rambling anecdote about trippers (“You wouldn’t believe some of the kids that come in here. They’re really spaced out. Last night, this cat, this cat comes in and says, ‘If anger is red and envy is green, what color is jealousy?’ And I mean, he’s really spaced out! And you just don’t go fucking people’s heads up when they’re spaced out! So I said, uh, “Black, right? Because jealousy is poison.'”) — but she then admits to feeling concern about her sister:
Speaking of home, we see kids lining up to make calls at a crowded telephone booth; sleeping like sardines on top of cars; skinny-dipping; caring for young children. We also see the tremendous amount of trash left behind after the concert (a detail most documentaries would shy away from); I was reminded of Frederick Wiseman’s films, which cover all facets — both important and seemingly insignificant — of what it takes to make an event or place run smoothly. One thing that distinguishes Wadleigh’s film from Wiseman’s, however, is his innovative use of split-screen imagery to show diverse perspectives on either a single moment or different points in time. The juxtaposition of concerned middle-aged neighbors with a shot of teens skinny-dipping is deliberately provocative, while other combinations simply help to convey the vastness of the event. Split-screen and super-imposition is especially extensive during musical sequences — to powerful effect, given that we can see both performers and viewers at once. IMDb notes that this stylistic choice was driven by necessity:
Interestingly, the musical performances ALMOST seem secondary to the ethnographic footage — though there are plenty of powerful songs, most notably Jimi Hendrix’s legendary riff on “Star Spangled Banner”. Interested viewers can read much, much more about this event — and the musical line-up — in numerous books or websites. Click here for a minute-by-minute overview of who performed when. Redeeming Qualities and Moments:
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“You can’t stop doing what you’re doing, because you’d let down all these people.”
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Response to Peary’s Review: I’m not positive about the veracity of the latter assertion, especially given the following rather cynical quote by young Townshend early in the group’s career:
as well as the film’s closing quote by an older Townshend (see beginning of this review), which continues as follows:
With that said, this final interview clip is followed by an enjoyably energetic and well-staged performance of “Won’t Get Fooled Again”, and surprisingly touching shots of the band embracing their adoring fans on-stage — thus making it seem like these men truly are playing for the enjoyment they bring to their fans (and continue to do so today). Note: According to Wikipedia, the deeply drug-addicted “Moon… died one week after seeing the rough cut [of this documentary] with Daltrey.” Redeeming Qualities and Moments:
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“Did you ever go to a totally strange place and feel certain you had been there before?”
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He notes that “the time the characters spend in this land where people are healthy, exist in harmony, and live for 200 years is dull in comparison”. Peary’s review is spot on: the opening scenes during the revolt are thrilling and fast-paced, but Shangri-La itself comes across as little more than a beautiful spa; plus, it’s distressing seeing the “happy natives” all working or in school while the whites live in luxury. I’m also not a fan of Jaffe’s casting as the High Lama, though he does come across as appropriately deluded.
The twist near the end is exciting, and Joseph Walker’s cinematography is gorgeous — but otherwise, this film is primarily of interest as a historical document. Note: According to Wikipedia, the film “exceeded its original budget by more than $776,000, and it took five years for it to earn back its cost.” Redeeming Qualities and Moments:
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“When I came up in gospel, we didn’t do concerts — we did revivals.”
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Response to Peary’s Review: While Peary wishes “the young filmmaker had had a veteran around to help him construct this film better — because the proper footage for a stronger film is there”, the film stands on its own as a uniquely structured ethnographic glimpse. It’s far from linear, but perhaps that’s not a necessity; what we see here is a milieu rather than a history per se (though historical information is woven throughout). Peary writes that “gospel music works when the singers transmit their emotions to their listeners (the church congregation)”, and then complains that “every time we really get into the swing of things and feel intoxicated by the music, Nierenberg pauses for a lot of behind-the-scenes chatter” — however, isn’t that precisely the point? Gospel singers — like all artists — have personal lives and beliefs that are impacted by (and shape) their art, and that’s very nicely highlighted here (particularly in reference to gender roles and expectations). On the other hand, Peary’s right that the film could perhaps have benefited from a bit more focus, simply to help us better understand some of these unique and interesting characters. Redeeming Qualities and Moments:
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“We have no place to go: we have to fight, or we die.”
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The movie’s exploration of Indians and whites’ tenuous attempt to co-exist goes beyond what we normally see in such films, and it’s easy to sympathize with both sides. The “frightening first appearance of Indians” may be, as Peary writes, the “film’s best moment” — and swiftly establishes tensions borne out throughout the film, as family members turn on one another, loyalties are consistently tested, and numerous likable characters die — but it’s not the only memorable scene by far. Flaming Star isn’t easy viewing, but it is worthwhile, and often poignant. Redeeming Qualities and Moments:
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“That ain’t tactics, honey — it’s just the beast in me!”
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Response to Peary’s Review: Redeeming Qualities and Moments:
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“The boy was born with an unusual talent — he has the right to think for himself!”
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… and toggling his bad-boy impulses between “pretty Dolores Hart”:
… and “Carolyn Jones, Matthau’s unhappy mistress”. Jones makes a strong presence as well: she’s amply seductive, pulls no punches (except when forced to under duress), and is clearly a damaged soul simply hoping for relief, which leads to plenty of genuine tension about which girl — and path — Presley will choose.
Russ Harlan’s cinematography is top-notch, and fine use is made of New Orleans locales. Redeeming Qualities and Moments:
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