AVALIAÇÃO DA IMDb
7,0/10
36 mil
SUA AVALIAÇÃO
Retrata a relação entre Sid Vicious, baixista do grupo punk britânico Sex Pistols, e sua namorada Nancy Spungen.Retrata a relação entre Sid Vicious, baixista do grupo punk britânico Sex Pistols, e sua namorada Nancy Spungen.Retrata a relação entre Sid Vicious, baixista do grupo punk britânico Sex Pistols, e sua namorada Nancy Spungen.
- Direção
- Roteiristas
- Artistas
- Indicado para 1 prêmio BAFTA
- 4 vitórias e 2 indicações no total
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
Some films tend to glorify rock and roll by showing off its glamorous side full of adventure and wonder. Sid and Nancy does no such thing. Instead it exposes the dirty, grimy, seedy underbelly of punk rock which is full of violence and drugs. Gary Oldman plays Sid Vicious, the bassist for British punk rock group the Sex Pistols. The film chronicles his life from when he meets his junky girlfriend, Nancy Spungen, to the tragic demise of that relationship. It is a loud, mean, ugly, and crass film that perfectly captures all that the Sex Pistols stood for... anarchy. Filled with all sorts of sex, drugs, and rock and roll, Sid and Nancy is a seriously wild ride.
If there's anything that makes this film, it's Gary Oldman and Chloe Webb. These two are incredible, Oldman more so. Oldman captures the self destructive tendencies of Sid excellently and takes it to a frighteningly believable extreme. It is a terrifying and shocking experience to watch him run amuck in this film, spray painting walls, nonstop drinking, shooting heroin every chance he gets, burning houses, etc. He is the true essence of anarchy, and yet somehow we feel sympathy for him. This is solely because of Nancy, the girlfriend. She is a character you love to hate. She is a pathetic excuse for a human being, always whining to get her way and her drugs, never contributing anything positive to Sid's life, and always screaming about her own problems. It is sickening and it makes the film all the more twisted and engrossing as we watch such self destruction unfold on screen.
It's not easy to tell a story where your two main characters are so easily hateable, but somehow this film does it. I think it is because of the balance between Nancy and Sid that we feel compelled to pity Sid and despise Nancy, making the film engaging in an offbeat and slightly deranged way. Their story is so backwards and so wretchedly obscene that we have to be interested in it somehow. It starts off simply enough. The Sex Pistols are all about anarchy and they go around beating people up, cursing, drinking, and all that sort of thing. But it isn't until Sid meets Nancy that things really start to explode as the story falls deeper and deeper into a twisted fit of depravity. Thing get worse and worse for the two as the film progresses and Sid's life slowly crumbles around him, with him too drunk or too high to even notice. The film does lag a little bit towards the middle as the conversations between Nancy and Sid begin to get a little repetitive, but we are then hit by an expected yet still powerful ending that closes out the film at just the right tone and atmosphere.
There is really nothing sane or reasonable about Sid and Nancy. It envelopes true chaos and discourse through the life of one man and his ridiculous girlfriend. It is a chore to watch this film as it does chronicle a life full of the most horrible habits and attitudes imaginable, but if you can stomach it all then Sid and Nancy is a fantastic film to experience. I loved this film and was truly fascinated by it. It displays a lifestyle a would never want to live. Instead, I only want to learn about it in vulgar detail from a great film like Sid and Nancy.
If there's anything that makes this film, it's Gary Oldman and Chloe Webb. These two are incredible, Oldman more so. Oldman captures the self destructive tendencies of Sid excellently and takes it to a frighteningly believable extreme. It is a terrifying and shocking experience to watch him run amuck in this film, spray painting walls, nonstop drinking, shooting heroin every chance he gets, burning houses, etc. He is the true essence of anarchy, and yet somehow we feel sympathy for him. This is solely because of Nancy, the girlfriend. She is a character you love to hate. She is a pathetic excuse for a human being, always whining to get her way and her drugs, never contributing anything positive to Sid's life, and always screaming about her own problems. It is sickening and it makes the film all the more twisted and engrossing as we watch such self destruction unfold on screen.
It's not easy to tell a story where your two main characters are so easily hateable, but somehow this film does it. I think it is because of the balance between Nancy and Sid that we feel compelled to pity Sid and despise Nancy, making the film engaging in an offbeat and slightly deranged way. Their story is so backwards and so wretchedly obscene that we have to be interested in it somehow. It starts off simply enough. The Sex Pistols are all about anarchy and they go around beating people up, cursing, drinking, and all that sort of thing. But it isn't until Sid meets Nancy that things really start to explode as the story falls deeper and deeper into a twisted fit of depravity. Thing get worse and worse for the two as the film progresses and Sid's life slowly crumbles around him, with him too drunk or too high to even notice. The film does lag a little bit towards the middle as the conversations between Nancy and Sid begin to get a little repetitive, but we are then hit by an expected yet still powerful ending that closes out the film at just the right tone and atmosphere.
There is really nothing sane or reasonable about Sid and Nancy. It envelopes true chaos and discourse through the life of one man and his ridiculous girlfriend. It is a chore to watch this film as it does chronicle a life full of the most horrible habits and attitudes imaginable, but if you can stomach it all then Sid and Nancy is a fantastic film to experience. I loved this film and was truly fascinated by it. It displays a lifestyle a would never want to live. Instead, I only want to learn about it in vulgar detail from a great film like Sid and Nancy.
The brilliant performances of Gary Oldman and Chloe Webb in the title roles propel this bleak and depressing look into the calamitous relationship between Sex Pistols bass player Sid Vicious and American punk rock groupie Nancy Spungen. The characters are introduced to us in tragedy right from the opening scene, casting the rest of the film with a fatalistic sense of impending doom. These are two tortured souls in communion who seem at odds with just about every facet of society -- even the extreme punk rock counter-culture to which they both ostensibly belong.
A major problem with the film (and all the more reason to tip our hats to the two leads) is that Sid and Nancy are written as such abrasive and disagreeable characters, one is hard pressed to relate to them on any meaningful level.
And while the re-creation of their reckless and volatile rebelliousness is quite detailed and credible, we never get a sense of how they came to be so angry and tortured to begin with. Even the smallest glimpse at their inner turmoil would have gone a long way in creating sympathy and concern from the audience. Instead, director Cox relies on the pureness of their genuine love for each other to provide that hook. That strategy succeeds to the extent it does ONLY because of Oldman's and Webb's amazing transformation into these parts.
If you own a DVD player, try to get a hold of the Criterion Collection edition of this film. That disc contains some excellent, revealing footage of the REAL Sid and Nancy that was shot for a contemporary documentary on the Sex Pistols ill-fated 1978 tour of the USA. If nothing else, the footage will increase your appreciation for these two splendid performances.
A major problem with the film (and all the more reason to tip our hats to the two leads) is that Sid and Nancy are written as such abrasive and disagreeable characters, one is hard pressed to relate to them on any meaningful level.
And while the re-creation of their reckless and volatile rebelliousness is quite detailed and credible, we never get a sense of how they came to be so angry and tortured to begin with. Even the smallest glimpse at their inner turmoil would have gone a long way in creating sympathy and concern from the audience. Instead, director Cox relies on the pureness of their genuine love for each other to provide that hook. That strategy succeeds to the extent it does ONLY because of Oldman's and Webb's amazing transformation into these parts.
If you own a DVD player, try to get a hold of the Criterion Collection edition of this film. That disc contains some excellent, revealing footage of the REAL Sid and Nancy that was shot for a contemporary documentary on the Sex Pistols ill-fated 1978 tour of the USA. If nothing else, the footage will increase your appreciation for these two splendid performances.
I missed SID & NANCY when it was first released. I wasn't expecting much when settling down to watch the DVD. I was pleasantly surprised to find a coherent, energetic but ultimately melancholy study of co-dependency, with two terrific central performances.
We get to know Chloe Webb's child-woman Nancy to a greater extent than we do Gary Oldman's wild-man Sid. Not the actors' fault. In fact it's not a fault at all. There is something inexplicable there. Whatever forces were at play in forming the young man who became Sid Vicious, it's to the credit of Alex Cox and his team that they don't waste time speculating upon them or trying to analyse them. Instead, the film lives up to its title, starting just before the relationship starts and ending just after Nancy's death.
The era in which the film was made is a significant factor in appreciating it. It was, in the UK at any rate, a time when the welfare state that had been so painstakingly put into place began to be systematically unravelled, a land where the notion of Society was belittled, in which hyper-individualism was lauded, where any sense of community was being abandoned, and the search for it becoming a joke. WALL ST, the'hero' of which was to famously declare Greed to be good, was released the year after SID AND NANCY. I remember all that only too well. And of course it's not over yet: the unravelling continues.
Sid and Nancy meet in a frenzy and finish in a fog. In between they shore each other up as best they can, two bits of flotsam on an indifferent sea. We're shown only a little of where Sid came from, mercifully not enough to help us theorise about how he came to be the embodiment of anarchy. Instead, through Oldman's bravura, we see his unmitigated charisma, at which the film's unctuous Malcolm McClaren (played by David Hayman) smiles knowingly and which he merrily exploits. We do see Nancy in the context of her family, but again, instead of attempting to use this encounter to explaining her, Cox gives us a sense of how pleased the family was to get rid of her. If Romeo and Juliet had been like Sid and Nancy, the Montagues and the Capulets would have paid to get them married and out of Verona altogether.
We get to know Chloe Webb's child-woman Nancy to a greater extent than we do Gary Oldman's wild-man Sid. Not the actors' fault. In fact it's not a fault at all. There is something inexplicable there. Whatever forces were at play in forming the young man who became Sid Vicious, it's to the credit of Alex Cox and his team that they don't waste time speculating upon them or trying to analyse them. Instead, the film lives up to its title, starting just before the relationship starts and ending just after Nancy's death.
The era in which the film was made is a significant factor in appreciating it. It was, in the UK at any rate, a time when the welfare state that had been so painstakingly put into place began to be systematically unravelled, a land where the notion of Society was belittled, in which hyper-individualism was lauded, where any sense of community was being abandoned, and the search for it becoming a joke. WALL ST, the'hero' of which was to famously declare Greed to be good, was released the year after SID AND NANCY. I remember all that only too well. And of course it's not over yet: the unravelling continues.
Sid and Nancy meet in a frenzy and finish in a fog. In between they shore each other up as best they can, two bits of flotsam on an indifferent sea. We're shown only a little of where Sid came from, mercifully not enough to help us theorise about how he came to be the embodiment of anarchy. Instead, through Oldman's bravura, we see his unmitigated charisma, at which the film's unctuous Malcolm McClaren (played by David Hayman) smiles knowingly and which he merrily exploits. We do see Nancy in the context of her family, but again, instead of attempting to use this encounter to explaining her, Cox gives us a sense of how pleased the family was to get rid of her. If Romeo and Juliet had been like Sid and Nancy, the Montagues and the Capulets would have paid to get them married and out of Verona altogether.
You really need to ask yourself if you love the Pistols and the general era of the late 70's. If you do, the film will fall flat for you.
The details are all wrong, the key incidents of the band and Sid's involvement with them are way off. The personalities of key people are wrong, some characters just made up, rather sloppily too.
So we can forgive it for being a wholly inaccurate of Sid Vicious' life. Fine, but so then what we are left with is a basic love story. It fails at this too, mostly because Nancy is written out pure spite and misogyny. She is therefore not only unlikable but wholly uninteresting.
You never believe the love story, because quite frankly Nancy isn't really written as a human being, just a series of tropes about junkies and that awful idea that women are shrews that stifle men's creativity.
The truth is Nancy was much more physically beautiful than this film wishes to admit. She was also quite charming, in fact, if you know junkie culture, you know that charm, deadly psychotic charm is a key way to survive and support your habit. None of that is shown here, so that ability for junkies to convince others they are clean, or kind or honest is obliterated.
Nancy was smarter than this film gives credit for (yes even though she was a junkie), with more charisma too and if they had written her that way it would make for a better film.
The real Sid fell in love with a real human being, a flawed one to be sure, but the kind of junkie a lot of us could fall for. In this film she's just a very nasty series of dull, obvious tropes.
Just about everyone intimately involved with the Sex Pistols has disowned this film.
I think there are moments of visual poetry in this film, I think Gary Oldman's performance is excellent, but the script is a Hollywood hackneyed attempt to reduce the Sex Pistols to every stereotype and narrow prejudice those who were never punks have always harbored about the punk movement.
It's sad because there is some real craft to this film, it had tremendous potential, but ultimately you can just never believe Sid would fall for this less-than-human harpy. Sad because there's a real reason Nancy swept Sid off his feet.
The truth, in this case, is not only stranger than fiction, it was also far more compelling.
The details are all wrong, the key incidents of the band and Sid's involvement with them are way off. The personalities of key people are wrong, some characters just made up, rather sloppily too.
So we can forgive it for being a wholly inaccurate of Sid Vicious' life. Fine, but so then what we are left with is a basic love story. It fails at this too, mostly because Nancy is written out pure spite and misogyny. She is therefore not only unlikable but wholly uninteresting.
You never believe the love story, because quite frankly Nancy isn't really written as a human being, just a series of tropes about junkies and that awful idea that women are shrews that stifle men's creativity.
The truth is Nancy was much more physically beautiful than this film wishes to admit. She was also quite charming, in fact, if you know junkie culture, you know that charm, deadly psychotic charm is a key way to survive and support your habit. None of that is shown here, so that ability for junkies to convince others they are clean, or kind or honest is obliterated.
Nancy was smarter than this film gives credit for (yes even though she was a junkie), with more charisma too and if they had written her that way it would make for a better film.
The real Sid fell in love with a real human being, a flawed one to be sure, but the kind of junkie a lot of us could fall for. In this film she's just a very nasty series of dull, obvious tropes.
Just about everyone intimately involved with the Sex Pistols has disowned this film.
I think there are moments of visual poetry in this film, I think Gary Oldman's performance is excellent, but the script is a Hollywood hackneyed attempt to reduce the Sex Pistols to every stereotype and narrow prejudice those who were never punks have always harbored about the punk movement.
It's sad because there is some real craft to this film, it had tremendous potential, but ultimately you can just never believe Sid would fall for this less-than-human harpy. Sad because there's a real reason Nancy swept Sid off his feet.
The truth, in this case, is not only stranger than fiction, it was also far more compelling.
This vivid recreation of the last, not quite desperate days of Sex Pistol Sid Vicious and his junkie/lover Nancy Spungen celebrates all the pathetic excesses of punk rock anarchy, but without the overwrought clichés Oliver Stone would later use to embalm kindred rock martyr Jim Morrison. It would be hard to find a more honest and unsettling portrait of show biz degradation, and yet the two lovers shared an almost tender (if self-destructive) affection for each other, conveyed by director Alex Cox with a gritty, forthright lyricism (their silhouetted embrace amidst a hail of garbage provides the film's most telling image). If nothing else, the pair were certainly more loyal to the nihilistic punk aesthetic than their contemporaries, and the film chronicles their slow, co-dependent suicide from the gutters of swinging London to the alleys of New York City, with an ill-conceived detour to Nancy's white-bread Middle America homestead. Gary Oldman brilliantly captures the ignorant anger (and sometimes disarming innocence) of the man described by Sex Pistols manager Malcolm McLaren as a "fabulous disaster", and Chloe Webb is equally fine as the ugly duckling drug addict Nancy.
Você sabia?
- CuriosidadesGary Oldman wore Sid's real chain necklace in the movie. When doing his research, Sid's mom gave him the necklace to wear during filming.
- Erros de gravaçãoIn one of the early pub scenes, the opening band for the Pistols is supposedly X-Ray Spex, belting out one of their best-known hits: "Oh, Bondage, Up Yours!" However, the lead singer Poly Styrene is depicted as rail thin, with long straight hair and no braces on her teeth; most surprisingly, she is portrayed as being white. In real life, Poly (Marion Eliott) is of Anglo-Somali parentage; and in 1977 she was not model thin, plus she had short curly hair and braces. This is because the group was originally meant to be Siouxsie and the Banshees, but they wouldn't give permission for the use of their songs.
- Cenas durante ou pós-créditos"And introducing the young Cat Vicious in the role of Smoky, Sid and Nancy's child."
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is Sid and Nancy?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Sid & Nancy
- Locações de filme
- Oakwood Court, Holland Park, Londres, Inglaterra, Reino Unido(John & Sid vandalise a Rolls Royce)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 4.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 2.826.523
- Fim de semana de estreia nos EUA e Canadá
- US$ 50.829
- 19 de out. de 1986
- Faturamento bruto mundial
- US$ 2.850.707
- Tempo de duração1 hora 52 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente
Principal brecha
By what name was Sid & Nancy, o Amor Mata (1986) officially released in India in English?
Responda