by Lynda Del Sasso
Gangster No.1
UK 2000, Cert. 18
Director: Paul McGuigan
Star rating * * * *
Set in London in 1968 and in
the present day, Gangster No. 1 is a shocking and brutal study
of ruthless ambition. Starring Malcolm McDowell as the
middle-aged and nameless Gangster, living a contented and
luxurious life until he hears that his old boss and mentor
Freddie Mays (David Thewlis) is being released from prison.
Old emotions are forced to the surface, and we flashback to
1968, when Gangster (a younger version is played by Paul
Bettany) is starting out on his soulless gangland career.
Many British films (most
recently the excruciating Circus) have tried to emulate the
magic of Lock, Stock and Two Smoking Barrels but none has even
come close. Until now. Gangster No.1 has those rare qualities
so seldom seen in the cinema - originality, strong script,
powerful performances and confident direction (an astonishing
feature debut from documentary maker Paul McGuigan). Coupled
with sophisticated production design - the 60s sets are
delightfully understated - and a striking soundtrack, this
film works as fascinating study of human psychosis, and is
comparable to the classic Taxi Driver. There too, alas, lies
the downside. For this is no light-hearted gangland caper, but
a dark, violent, and at times horrific film. The language is
as bad as you are ever likely to hear, but for anyone
undaunted by swearing and violence, this is a must-see film.
(UGC Marina from June 9)
The Filth and The Fury
UK 2000, Cert. 15
Director: Julien Temple
Star Rating * * *
In the late 1970s, the Sex
Pistols were a phenomenon which couldn't be ignored. In The
Filth and The Fury director Julien Temple reworks his 1980
Pistols' documentary, The Great Rock'n'Roll Swindle. The story
this time is told from the band's point of view, rather than
Malcolm McLaren's, with Temple tracing the Pistols' rise to
fame from petty theft beginnings to superstardom and through
to well-documented self-destruction barely 24 months later.
Narrated chiefly by vocalist
Johnny Rotten (real name John Lydon) and featuring a
previously unseen interview with Sid Vicious (real name John
Beverly) this film offers a highly revealing insight into the
band and particularly into the psyche of its two highest
profile members. Love them or hate them, the Sex Pistols were
a powerful force and they relished their notoriety and ability
to shake up the establishment. Lydon claims he agreed to do
The Filth and The Fury only because he wanted to tell the
truth behind their story. "For the last twenty years
people have blown up and exaggerated The Sex Pistols into
something they never were." True. The fact that they
could not play their instruments or sing didn't matter at the
time, but in retrospect, and with the benefit of this film,
it's clear that the band consisted of fortunate individuals
who happened to be in the right place at the right time.
Lydon seems to hold everyone
and everything in contempt, currently spouting moral
anti-drugs messages, he is anti-middle class, anti-rock fans,
you name it. He is a man of immense energy and anger but
little compassion except apparently for his dead friend Sid
Vicious. Temple's decision to intercut footage of the band
with archive clips of weather reports, TV ads, game-shows and
snippets of comedians Arthur Askey, Ken Dodd, Rod Hull, Norman
Wisdom, Max Wall et al, is a shaky one. His intention it seems
was to avoid "a ghastly rock-u-mentary with old rock
stars in make-up and armchairs". The device becomes more
intrusive and irritating as the film progresses, and in place
of old rock stars in make-up, we are shown old rock-stars in
silhouette. Hardly an innovation, certainly a cop-out.
Despite Lydon's famous hatred
and contempt for McLaren, it's clear that the two men were
remarkably similar in many ways, in background, even in voice
- accent and delivery are almost identical. Both were
egomaniacs, needing and feeding off each other, but McLaren
was the more astute, with the business acumen, discipline and
staying power that Lydon lacked.
The Sex Pistols were
influential and notorious, but their talent lacked substance
and they were unwilling to devote any energy to developing the
band. Temple's new film illustrates this, whereas his 1980
version managed to retain the mystique that surrounds most
rock bands. Lydon succeeded in his quest to reveal himself as
an ordinary person, but was it wise to demonstrate just how
ordinary he is?
(Duke of York's)
Maybe Baby
UK 2000, Cert. 15
Director: Ben Elton
Star Rating * * *
Sam (Hugh Laurie) and Lucy (Joely
Richardson) are a successful couple desperate for a baby. In
their bid to start a family they try acupuncture, New Age
chanting, making love on lay lines, IVF, all without luck. In
the meantime Sam, a TV commissioning editor under stress from
his young boss, decides to write a screenplay. His script is
about the trials of a couple struggling to have a baby.
If you can get past the dreary
subject matter, this romantic comedy written and directed by
Ben Elton has some very funny moments. The cast reads like a
British comedy Who's Who - Rowan Atkinson, Dawn French, Joanna
Lumley, Emma Thompson - and the concentration of talent pays
off. Tom Hollander does a brilliant turn as Ewan Proclaimer, a
pretentious up-and-coming young film director given free reign
by the inexperienced new head of the BBC and Emma Thompson is
hilarious as an eccentric hippie.
(Brighton Odeon from June 2)
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