Blank Generation

Bad acting. Next to no script or plot. An uninteresting cameo from Warhol. Pretence turned up to 11. If you don't like the album this exploits, it's an expensive student film style disaster. I would sell it to you only on the condition you never press Play. It would have been interesting as a late 70s postcard of New York but it's shot so tight, that you see precious little of it. Abominable.

How much you enjoy Blank Generation will depend on how big a fan of Richard Hell you are. If, like me, you think he was the coolest, most talented, most intelligent, and most charismatic 70s punk, then this movie is a must see! Hell does what he does best, being MR COOL, Carole Bouquet is stunningly beautiful, and Warhol puts in a brief but memorable appearance. To top it all off the film is full of the music of Hell and The Voidoids (Robert Quine, Ivan Julian and Mark Bell) who are really on fire. Their live performances are sensational and are worth watching this for alone. A forgotten punk classic.

Underknown document from the early 1980s covering New York City's burgeoning punk scene with the underrated, now appreciated and legendary punk songwriter and bassist extraordinaire Sir Richard Hell in the lead role. The film, suffering from pretentious dialogue more than a few moments, is nevertheless rewarding in spots, with great natural acting by Hell and tepid chemistry between he and the phenomenally sensual actress Carole Bouquet. Besides occasional smoldering interactions between these two, the most engaging aspect of this film are several live music sets of Hell's band The Voidoids,either on stage or in the studio. Definitely worth a watch for those songs and, if for nothing else, then to glimpse the futility of being a musician in NYC's gritty streets. [PS: Sir Richard Lives! In 2004, Hell was persuaded by the Fales Library at New York University to part with his archives that are now apparently available for punk scrawl-ars: "In pristine surroundings, scholars will soon be able to pore over old set lists, posters, videotapes, audiotapes, drafts of lyrics, manuscripts and erotic drawings. The papers will be part of the library's extensive collection of documents from the downtown art scene of the 1970's and 1980's. They will not go unvisited, said Marvin Taylor, director of the library, who paid Hell $50,000 for the materials. Though the library has tweedier stuff, including papers of Isaac Bashevis Singer and Erich Maria Remarque, it is material like Hell's that draws a crowd.

This entry in the long, strange directorial career of Fassbinder protege Ulli Lommel tells of the on-again, off-again romance of French TV interviewer Nada (Carole Bouquet) and upcoming rock singer Billy (Richard Hell) with a minimum (not quite nada) of things actually happening. Billy and Nada split up and re-form as often as Albert Brooks and Kathryn Harrold in MODERN ROMANCE, although that was supposed to be a comedy. Nada in the meantime takes up with a journalist played by Lommel himself, who, in scene after scene, tries to land an interview with Andy Warhol and gets turned down. Then Andy finally agrees-- score one for the virtue of persistence. Billy's own side-romance is with Lizzy, a punk filmmaker played by Lommel's wife Suzanna Love.

Hell has spoken of how self-conscious he felt acting in this film, and he does have a deer-in-the-headlights look in more than a couple scenes. Billy's songs and band (the Voidoids) are those of Hell himself, and we hear the same few Voidoids songs over and over. Even the greatest pieces of music require a break every once in awhile, but not for Lommel.

BLANK GENERATION (not to be confused with the earlier documentary THE BLANK GENERATION, which covered the same New York punk scene as this work of fiction) apparently was written and shot on the fly, giving it a slapdash aesthetic that parallels that of the New York No Wave underground film scene of the time. The real interest, like that of the documentary, is its glimpse of New York at the time of the inception of its history-making punk rock scene, centered at the famous CBGB bar in the run-down East Village of Manhattan. We get to see not only the interior and the entrance of the bar, but what was next to and across the street from it at the time as well!

But sadly, that's all BLANK GENERATION has going for it-- the cultural-history aspect. Lommel's horror films of this time-- THE BOOGEY MAN, THE DEVONSVILLE TERROR-- were fun in and of themselves, but if you're not a fan of Hell and early punk rock, there's little reason to watch this one.

How does this have all the makings of what should have been an awesome 70s NYC punk time capsule and yet be so horribly dull ?

I love R Hell and the Voidoids. I am entranced with gritty 70s NYC, i like hot French chicks. But man this movie is a total snore fest. Its so...just..boring. Aside from the live performances of R. Hell (the acting performances are remarkably horrible) there is almost nothing to see here. Drab, dull diarrhea. I dont care what anyone says the sheer blandness of this affair over rides any cultural credibility it may have