Privilège

Fascinating, baffling, confused and prescient -- sometimes all within the same scene. A true artifact of the late 60's. The American Cinemateque just showed the ONLY existing print in the world. It was pretty ratty, with a constant hiss on the soundtrack, but at least it was shown. Director Peter Watkins (THE WAR GAME, PUNISHMENT PARK) directed PRIVILEGE as a faux documentary about a near future where the biggest musical star in the land who's fame becomes so large that he becomes a demi-god to the people. Of course, with all that power, he becomes a political pawn. The idea of a pop singer turning into a national icon that transcends his commercial status is even more relevant today than in '67.

The one major flaw of the film is Paul Jones' performance as the Singer Steve. He's just too dull and boring to be believed as the greatest Rock Star of All Time. Swinging 60s fashion icon Jean Shrimpton plays the girl who is hired to be with him. Patti Smith covered the title tune ("Set Me Free") on her great album, Easter.

Update: PRIVILEGE has finally made it to DVD and Blu Ray (but, not currently streaming)

A film society at my school showed this movie for free in a lecture hall last night. Though nothing beats a free movie, the guy running the whole thing introduced it as one that had been totally panned by critics, never released on video, etc., which didn't make it sound very promising. They also showed the short film "Lonely Boy" just before "Privilege" (it's funny to hear Paul Anka's manager saying how no one will be as famous as Paul Anka ever again, knowing that only two short years later The Beatles were on Ed Sullivan). The film society also said that the director of "Privilege" watched "Lonely Boy" repeatedly, to get a feel for the mass hysteria and hero worship of teen idols.

"Privilege" is about pop star Steven Shorter, who has the teen population of Britain in the palm of his hand. Behind Steve, however, are the corporations and investors using him to control teens, which is pretty scary to think about, considering the same is very nearly true today. They decide everything for him: his appearance, what products he'll endorse, the songs he sings; and when he tries to break away and become an individual, that's it. The investors withdraw their support and the show's over. Steve controlled the public so well that with just one speech, he is able to turn the teens against himself.

I liked this movie. Perhaps the reason it did so poorly when originally released is because it didn't seem relevant. Today, it certainly is. The "futuristic" British society portrayed seems a bit of a stretch (at one point the crowds chant "We must conform! We must conform!"), but then, so does the society shown in 1984, in my opinion. Find this movie if you can, it's a great one and should be released on video!

Corporate ownership of a rock star...hmm..Singing the message his corporate masters want him to sing...hmmm...Using pop songs to manipulate the ideas and thoughts of youth in the mold that is 'desirable' by 'those in charge'...hmmm Naw, it'd never happen!! Turns out this film was pre Beatles Apple (empire) and it turned out the idea was somewhat 'prophetic' I liked the film..I remember seeing it several times..bought the book, own two copies of the soundtrack. (bought the Who's 'Who Sell Out' the same day...) Neither Paul Jones and Jean Shrimpton were particularly brilliant actors, but they were able to convey the feelings of the time. The late Michael Leanders music is still enjoyable and interesting..check out the film's version of 'Onward Christian Soldiers' Overall, I would like to see this film again!

Good movie about a singer whose popularity serves for societal manipulation. The rather timid rock star is part of an effort to control English youth by coercing them into accepting the government line, which is subtly expressed in his lyrics and behavior. The concept of using rock for social control is a bit dated, but try reworking it in the context of modern consumerism: Huge corporations and their musician-sponsors. Why, Madonna and Michael Jackson would never

allow their artistic talents to be used to get people to buy Pepsi, right? The Beatles "Revolution" in a Nike ad is out of the question, true? Janis Joplin's estate wouldn't allow Mercedes-Benz to feature her tune about the car,

correct? We aren't being manipulated by that old time rock and roll, are we? Not even to buy "Like A Rock" Chevy trucks? Paranoid enough? Then you'll enjoy "Privilege".

The count stands at at least 2 people!!! I DID see this film (25+?) years ago on UK TV, when I was quite young. I occasionally remember it and am now trying to track down a copy. I agree with all the previous reviewer's comments, the only element he doesn't mention is the "Stalinist" undertone in respect of the relationship of the power and the privilige. The young pop star receives "Privilege" in return for exercising power (unknowing manipulation) over the masses for his unseen (but knowing) masters. The finale of the film is an Orwellian vision where he has fallen from grace, his career is over, but since record of him cannot be erased so easily his publicised image is restricted to visual only, his voice is erased...

I guess the film was originally created as a "pop" metaphor of Communist regimes, but my memory of it resonates with much of modern media, and public, pop-hysteria.

Oh, I remember the music as good too, but I'm bracing myself for a shock if I hear it again... (I remember a time when Alice Cooper sounded heavy and shocking. Nowadays it feels very "middle of the road"!) Paul Jones still rocks, running his show on BBC Radio 2 on Blues (at time of writing).