Adicionar um enredo no seu idiomaFilmmaker Julien Temple chronicles the Sex Pistols' tumultuous rise to fame, as told by their manager, Malcolm McLaren.Filmmaker Julien Temple chronicles the Sex Pistols' tumultuous rise to fame, as told by their manager, Malcolm McLaren.Filmmaker Julien Temple chronicles the Sex Pistols' tumultuous rise to fame, as told by their manager, Malcolm McLaren.
- The Collaborator
- (as Johnny Rotten)
- The Exile
- (as Ronnie Biggs)
- Helen
- (as Helen of Troy)
- Tadpole (kiosk attendant)
- (as Tenpole Tudor)
- Soo Catwoman
- (não creditado)
Avaliações em destaque
the star on board is mclaren, in full sleazeball form. to the unsuspecting eye, it seems like an act. it is, of course, until you realize that it's the same act he kept up in the public eye for years, while running his little pet project dry. mclaren cut his teeth on theater of the absurd and fancies his managerial life a kind of kaufman-esque performance. the only problem is that mclaren often-times does not have the consent of his lab rats, a bunch of naughty British hooligans that called themselves the sex pistols (no, mclaren did NOT come up with the name).
therefore, it's partially amusing to watch mclaren credit himself with inventing the wheel in punk rock, and partially disgusting when you approach the subject matter knowing he gave nary a shat about the well-being of his bandmates nor the political and social commentary they, especially rotten, were trying to convey. mclaren was more interested in assembling a forefather to reality TV- life as nihilistic, self-imploding art.
the movie itself is not much. there's laughs here and there, but mostly it's a bloated and deadweight companion piece to "The Filth and the Fury," mostly wound into watchability by excellent live performances and some bizarre visual interpretations of songs (some of which seem hardly composed on a punk rock budget). "who killed bambi" (also mclaren's idea with none of the band members really interested in the idea) shows up in several parts and proves to be a quite pointless endeavor.
the majority of punk rock was not known for its rock star exploits off the stage (in fact, that was kinda the point- that these werent rock stars at all). if there had to have been a band to make a boisterous film with sex and drugs and midgets and animation and disco dancing, it's probably best that it was the sex pistols. overall, this film should be mostly reserved for hardcore fans, though others may find value in the sheer novelty of the package. but do yourself a favor and see "filth" first.
Here are some real facts.
* McLaren was actually approached by the band to be manager, not the other way round.
* The Pistols were a proper, organic band and not created by McLaren or anyone else. Jones and Cook were childhood friends. Rotten and Vicious went back a long way too. This is something that has led to unfair criticism of the Pistols down the years as they have been likened to manufactured boy bands.
* The band and no one else wrote the songs, recorded them, played live, created the publicity and gave the interviews.
* McLaren did not instigate the Bill Grundy incident. The Pistols only appeared on the programme because Queen had pulled out. According to the band, McLaren was cowering in the back in case arrests were about to be made.
* Johnny Rotten walked out of the band. He was not sacked.
* Far from outwitting the Sex Pistols, John Lydon (Rotten) actually successfully sued him in the 1980s for control and a considerable sum of money. Some of the evidence used by Lydon's lawyers was from McLaren's boasting in 'The Great Rock & Roll Swindle'. This would suggest that McLaren is none too bright despite his affectations.
* The sackings and subsequent pay offs from A & M and EMI were, again, not engineered, it was merely the way things panned out.
* McLaren boasts about the money he made from the band. If he had been competent, he could have made a great deal more. It seems he coudn't even organise gigs properly.
* McLaren's claim at the start of the film that he invented punk rock can be disproved in about ten seconds. The Pistols were not the first punk band, merely the most high profile.
This is a terrible film. The only parts worth watching are the genuine footage of the band, later put to much better use in 'The Filth And The Fury'.
This movie tries so hard to be clever, instead it just seems immature and uninspired. All there is going on, is that we have band members doing dumb things; McLaren claiming credit though without any proof backing up anything he's saying, and some decent footage of Sex Pistols shows.
Some many years later, the film was pretty much confirmed as a lie, in that time McLaren wasn't known to repeat the same method and end up with the same results. These days this film is considered a tongue-in-cheek mockumentary instead of a pile of crap. So, there really was no reason to make this film, other than money.
The only value this film has is that it contains archival footage, other than that it really didn't need to be told in the fictitious tale of McLaren. It would've done better if it was narrated to the audience like it was a scrapbook. But, because it's told in such a fictitious manner the audience is left possibly irritated, or numb.
I'd give it a 8/10 because it contains decent live footage of a band I love. But, I'd give it 3/10 because the movie is a lie; so poorly edited, and presented to the audience that it is supposed to be an actual film. I meet in the middle at 5/10.
Você sabia?
- CuriosidadesTo receive an 'X' certificate the BBFC required cuts to the final print. Full-frontal shots of Judy Croll (playing Soo Catwoman) in Malcolm McLaren's bathroom were optically enhanced to remove images of her lower regions (banned under the Protection of Children Act) and a long shot of her was cut by adding black panties to cover up the offending area. The scene was also cut by removing shots of Steve Jones' genitals during the sex scene with the Brazilian girl and Mary Millington's visible pubic area in her sex scene with Jones. A shot of Sid Vicious waving a flick-knife was moved back into the sequence to avoid equating sex with violence. The BBFC also demanded the inclusion of newspaper headline footage referring to the deaths of Vicious and Nancy Spungen. All later releases feature this same print.
- Erros de gravaçãoTowards the end of Sid Vicious' Punk rendition of Paul Anka/Frank Sinatra's "My Way", he pulls a revolver out of his pocket and starts shooting at the audience. He fires eight shots, which is more bullets than a revolver can hold.
- Citações
Girl with ants on face: The Sex Pistols - a walking abortion. The Sex Pistols are nothing but a bunch of irresponsible half-dead lumps. But the best are born.
The Crook: I was only in it for the birds after the show.
Girl with ants on face: You, Steve Jones, are nothing but a walking dildo doing a good plumbing job. You'd swim through a river of snot, wade nostril deep through a mile of vomit, as long as you thought there was a sexy cunt at the end of it - and those cunts! Daddy's girl! Daddy's girls are in awe of the Sex Pistols! They really believe that what they're grooving to bores them to shit! Daddy's girls are just hot water bottles with tits. Why are they so fucking successful, the Sex Pistols? And the Sex Pistols like death, it excites them sexually. In the end, you see, it all comes down to one thing: they have a sort of negative Midas touch - everything they touch turns to shit!
- ConexõesFeatured in Sid Vicious: My Way (1978)
- Trilhas sonorasMy Way
(Comme d'Habitude)
Music by Claude François and Jacques Revaux
French lyrics by Gilles Thibaut
English lyrics by Paul Anka
Principais escolhas
- How long is The Great Rock 'n' Roll Swindle?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Who Killed Bambi?
- Locações de filme
- Great Windmill Street, Soho, Londres, Inglaterra, Reino Unido(exterior of Moulin Cinema)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro