The Decline of Western Civilization

Kind of a guilty indulgence nowadays, this used to be required watching when i was in high school. It really is a great illumination of the burgeoning punk scene in LA in 1980. As the bands play, Spheeris prints the lyrics in subtitles, which is of course necessary if one really wants to know what the guy is screaming into the microphone. But also it turns the camera's POV into that of tourist, passing through this alien world. The band interviews reveal an honest approach to the music that really doesn't exist anymore. Then again, it's not as easy to come by $16/month former-church closets like Chavez of Black Flag does. How many unheard of bands do you know that aren't trying like the dickens to get a record deal? These guys just didn't care. And who can't love the commentary of the little French dude who used to be the "singer" for Catholic Discipline (of which Phranc was a member). His gritty voice delivers one of the best soliloquies ever captured on film: "I have excellent news for the world ... there's no such thing as New Wave." Whew! What a relief!

Before she made Wayne's World, Ms Spheeris documented the LA Punk scene with the kind of dead pan perspective that makes this the all time classic commercial punk rock documentary. Of course Target Video's concert footage of the Dead Kennedys or the Mutants live at a home for the insane are much better, but unless you live near Leather Tongue Video in San Francisco, you probably won't find those, so this one will have to do.

Best Irony: Members of a famous X-Punk band tattooing each other on a dirty couch while apparently under the influence of some processed opiate are talking about how pot makes hippies so pathetically passive that someone would come in and kick the shit out of them and all they'd say is "Bummer maaan." And then going on to a completely deadpan unemotional account of finding a dead guy in the back yard.

Definitely the best insight into the whole era. Sure The Great Rock and Roll Swindle is fun, but this one shows the whole scene unflinchingly from a neutral angle. The camera is on and everyone becomes an actor on their own stage.

When it comes to films on the L.A. hardcore scene of the late 70s/early 80s this is as good as it gets! It's very rare that cameras are around during the genesis of a music movement, and I will be forever grateful that Ms Sheeris was there to capture the beginnings of the LA hardcore scene that was growing out of the ideals and influences of the dying New York & London punk scenes. I was living on the East Coast at the time this film came out, and back then the only way to see some of these bands, without going to L.A., was to see this film. It was a rare event when one of these bands would pile into a van and head east on a tour, so to fulfill our love for the L.A. hardcore scene my friends and I would go see this film every few weeks. This is a great document of that time in music history. For people who liked this era of punk/hardcore music, here's a few other very similar documentary films you might want to check out...

THE BLANK GENERATION - (70s New York punk - Johnny Thunders, Richard Hell, Ramones, Television, Patti Smith, etc...)

THE PUNK ROCK MOVIE - (70s British punk - Sex Pistols, The Clash, X-Ray Spex, Eater, etc...)

PUNK IN LONDON - (70s British punk - The Clash, The Adverts, The Lurkers, Subway Sect, etc...)

D.O.A. - (70s American & British punk - Dead Boys, Generation X, Sham 69, Iggy Pop, etc... *contains a priceless interview with Sid & Nancy*)

UK/DK - (80s British hardcore - The Addicts, The Exploited, The Business, UK Subs, etc...)

If I assume that you know what this film is about, I am also forced to assume that you've come to this review knowing that you will probably watch it regardless of what I say. If all this rings true - read on - you are likely to find some consonance with at least part of this review. If you're undecided, or not really entirely certain what happened in the late '70s and early '80s in the urban and suburban youth music culture, you should probably read one of the reviews which pretends to be objective instead.

Although I didn't grow up in California, the American punk scene was the first music scene I ever truly lived in. At the height of the hardcore I was immersed in from about 1979-1981 everybody had a band and the only common denominators between bands and indeed members of their audiences were:

* the rejection of conformity

* tolerance and enjoyment of difference

* a desire to have fun - hard and fast

Hairstyles, politics, dislike of authority figures, and violent slam-dancing were not integral to what I experienced, though there were certainly cliques or factions who tended to be intolerant of those who did not dress, speak or act "punk" enough. And there was often a certain amount of unearned credit extended from some of these cliques to those who tried really hard to live down to the fascistic paradigm of anarchic, self mutilating, angry young cop-haters.

Although the interviews with audience punks in Penelope Spheeris' excellent Cal-Punk documentary "Decline of Western Civilization" present a very narrow view of the subculture some of us enjoyed, the interviews with the bands, club owners, promoters and even the security people are much more representative of at least my own perspective and memories of 'the scene'. nevertheless, it is possible for those who approach this with prejudices about what punk is to experience this film without having their preconceptions challenged. Unfortunate as this is, the blame for it rests solely with those who promote, believe in or feel comfortable with stereotypes - Not the film-makers. Don't blame the messenger.

The music presented here is not going to be for everybody - nor even most. It's not the most crude stuff out there, but it's loud, obnoxious, fast, and less concerned with technique than with raw energy.

For me, seeing early Black Flag with Ron Reyes singing, X, Fear and the Circle Jerks was worth far more than the cost of this hard to obtain film. As much as I like The Germs, seeing Darby Crash for the mess - and the nice guy - that he was left me a bit cold. Nevertheless, the scenes of Darby playing with his pet tarantula while "Shut Down" droned on and on in the background were precious. The X interview is also great.

Spheeris' straightforward documentary style is supplemented by wild pans and zooms during the musical segments. During the interviews, framing is used very nicely to provide context for whatever is being said. Considering her experience and the budget, Spheeris did as well as anybody could have with this film.

Recommended for those who appreciate what this film is actually about, and for those who have forgotten those few years of fun, honest, direction-less rebellion before Amaerican punk was co-opted into yet another flow within the musical mainstream and the stereotypes became more important than the basic philosophy.

One of the major successes to The Decline of Western Civilization, filmmaker Penelope Spheeris' indie breakthrough, is that it can perhaps appeal to non-punk fans as to the hardcore ones. More importantly, it captures a moment in history before the movement became completely "market-worthy", when bands would play (or, at the least, try to play in some cases) in dank, dirty clubs to an audience that had as much self-respect as they had respect for the bands. For the fan, such as myself, there are precious interviews with some of the quasi-legends of LA's punk-scum, some dead, some still living and still hard-working in the scene.

Performances and interviews include the likes of The Circle Jerks, X, Black Flag (in the pre-Henry Rollins days), Catholic Discipline, Fear, the Alice Bag Band, and most memorable (in my opinion) being the Germs. While I knew of a few of the bands and performers in the film (The Jerks and Black Flag mostly), I had only heard rumors about lead singer (the late) Darby Crash, and from the footage in the film he seems to be one of the, if not the, epitomes of the punk movement. He doesn't take himself too seriously, he loves to drink, sometimes when he speaks it's complete gibberish, and the attitude he brings on stage is both funny and in a free-form way exhilarating. A performer like that would probably scare Steve Miller and Jackson Browne out of their skins.

Decline of Western Civilization may not turn on every non-punk fan that seeks this film out (it's hard to find on video), but it shouldn't necessarily turn them off either. Like a kind of anthropologist that's sneaked into the party, Spheeris gets the behavior of these people down pat, their motives, their likes and hatreds, and the power that was their on and off-screen personas. A few of them almost come off as normal, some don't, but they're only offensive to those who aren't too open to things. On top of that, the film is a must-see to the kinds of kids that think they're punk fans just because they listen to Good Charlotte and Blink-182: if you want to get the real scoop on the movement and genre of rock you profess to love, give the pioneers a chance. A