Performance

This is probably one of the best cult movies ever made. I have seen it about 20 times now and even the last time, it was still not boring and I stayed up late again to watch it at 3 in the morning (even though I have it on video). "Performance" shows James Fox in a part you would never expect from him. The mobster with the secret past and deep dark secrets. Violent and with a "no mercy" attitude. Very impressive. Mick Jagger debuts as an actor in this picture and you can see he wants to do well in the beginning. I know the movie was shot chronologically and Jagger seems to be growing as an actor in each scene. The most impressive performance is the performance German/Italian actress Anita Pallenberg is giving here. As the Jagger's character says in the movie: "The only performance that makes it, that really makes it, that makes it all the way, is the one that achieves madness!" And Anita does just that. She is beautiful, decadent, dangerous, high and grounded and very much herself as Pherber. If you watch this movie, you should really try and focus on her, because she is full of surprises. French teen actress Michèle Breton only starred in this movie and the attention is drawn away from her completely by Pallenberg. That is a shame, because Breton does have some very strong scenes, like the one with Pallenberg when they are talking about the gangster. You can see that both Breton and her character are not sure what they are yet: are they children or young women? This movie clearly deserves 10 out of 10!

Gangster James Fox (Chas) quite correctly exacts revenge on fellow bad-guy Anthony Valentine (Joey). But, this goes against the wishes of his boss Johnny Shannon (Harry) and so he has to go into hiding to prepare his escape from the country. The police are also looking for him although they don't figure at all in this film. Fox holes up in a house owned by faded rock star Mick Jagger (Turner) which he shares with a couple of druggy hippie chicks – Anita Pallenberg (Pherber) and Michèle Breton (Lucy). These three swap philosophies and indulge in a spot of identity swapping as well as a magic mushroom breakfast. Fox goes on a trip and he and Jagger truly become one. Meanwhile the gangsters are still searching for Fox…

This film definitely has 2 parts – the beginning gangster story and then the unworldly lodgings with Jagger. The latter part of the film is quite amusing and both my wife and I commented that we should spend all our afternoons like that, especially when they are partying to the music. Let's all get a bit boho. I'm sure there are things to spot on another viewing. The cast are good although Johnny Shannon (Harry) doesn't quite cut it as top dog. His surname is Flowers, though, which suggests a pansy in charge – and the Krays are obviously given another nod in this offering by look-a-like gangsters.

Both lifestyles no longer survive – the gangster world is totally different as is the bohemian lifestyle on show. Who does mushrooms these days? Back in the day, though….

Thirty years after its release 'Performance' still remains one of the most controversial movies of the 60s/70s. For many it is an arty pretentious bore that is only worth remembering for being a mother lode of imagery that has been mined extensively by MTV "talents" over the last twenty years. (Cammell/Roeg must be up there with Bunuel and Kenneth Anger as the most plagiarized source for rock video!)

For the rest of us 'Performance' could well be THE great movie of the psychedelic era, rivaled only by Antonioni's 'Blow Up' and Jodorowky's 'El Topo'. 'Performance' merges the hard boiled Cockney gangster world of the Kray twins (exemplified by James Fox's brutal Chas) with the freaks of the rock/drug world (Jagger's enigmatic Turner) and shows they have as much in common as they differ. Reality and fantasy blur, gender and personas get confused, and Chas and Turner become increasingly hard to tell apart.

All of this unfolds to an ultra-cool soundtrack of The Last Poets, Randy Newman, Jagger's lost classic 'Memo From Turner' and former Spector/Stones/Crazy Horse collaborator Jack Nietsche's Moog. Add to this plenty of sex, trips and Jorge Luis Borges references, and you've got yourself a mind-blowing movie experience!! Highly recommended to Grant Morrison fans.

I missed this film when it came out over thirty years ago, and have looked out for it ever since. At last, after a rare showing on BBC's arts channel, it has proved to be well worth the long wait.

It is a complex film, starting and finishing as a gripping and violent gangster movie, with the more philosophical and erotic section with Jagger and Pallenberg slotted between the gangster elements. James Fox as gangster on the run is a revelation. Why didn't he get parts like this again? He is far more convincing than his contemporary Michael Caine in this kind of role, with a scary viciousness combined with his 'Jack the Lad' charm.

Although Mick Jagger and Anita Pallenberg don't seem to be playing anything more than themselves, they are perfect foils for Fox. As they embroil Fox in their weird games, the writers/directors Nicholas Roeg and Donald Cammell create brilliantly the mushroom-based trip that they take him on and through. The film also evokes a fascinating and nostalgic picture of late '60s London and is a reminder that the "swinging sixties" had their grimy and violent side. Overall, a great film that deserves far wider recognition.

Reading the various comments posted, I'm saddened to see that Nic Roeg is receiving the credit for this amazing film. Granted, Roeg did provide his always stunning camera work to the film, but it was Donald Cammell who wrote, directed the actors, and edited (along with Frank Mazzola) PERFORMANCE.

Roeg acted as DP on the film, blocking the camera movements as Cammell worked with the actors. In fact, according to Cammell, they worked so well together that people would comment "...the two director approach is the wave of the future." Cammell also revealed that his admiration for Roeg's work was somewhat tempered by the fact that Roeg was often solely credited for PERFORMANCE, something that just isn't true.

Don't get me wrong, I think Nic Roeg is a wonderful director and a brilliant DP. DON'T LOOK NOW, THE MAN WHO FELL TO EARTH, and BAD TIMING are some of my favorite films, but PERFORMANCE is Cammell's vision more than Roeg's.

In fact, given the ironic and tragic life that Cammell led, perhaps it's only fitting that he would be overlooked for his work on PERFORMANCE, which displays his obsessions for Borges, gender/identity, and sexuality.

Any interest? Seek out DONALD CAMMELL: THE ULTIMATE PERFORMANCE for a fascinating look at this brilliant artist.