Telstar: The Joe Meek Story

I'm a little too young to appreciate Joe Meek's music and it seems to my ears that his music does seem nowadays as if it's from a museum, it sounds so fossilised....and yet, there's no denying the popularity of his rinky-dink pop music from the pre-Beatles era, even achieving the almost unique feat for a British "artist" (he'd have loved that soubriquet, no doubt) of having a number one in America with the irritatingly catchy "Telstar". I some time ago watched the BBC-TV "Arena" documentary on his life and times and my interest was piqued then at this most unusual man.

Even if you didn't know Meek's life story, we pretty much get to know from the outset that Joe's final breakdown is going to end in tragedy, with the narrative frequently inserting scenes from his last day leading up to the tragic shooting of firstly his landlady (pretty much an accident, as it appears here), this giving him the final spur to almost immediately afterwards take his own life in equally violent fashion.

The film unfolds from this downbeat start into a most entertaining first half as the story charts his rise to mini-Spector status, producing memorable number one hits for John Leyton, The Tornadoes and The Honeycombs. Into Joe's (no pun intended) orbit drift a motley selection of eccentric beat group personnel, with much bawdy humour to the fore. I especially enjoyed Kevin Spacey's spot-on upper-class English accent as Joe's eccentric business manager, military "crusty" Major Banks and there's also a fine turn by Tom Burke as Meek's nervous, sensitive indeed spiritualist in-house songwriter Geoff Goddard. I wasn't quite convinced that Con O'Neill really gave us Meek as he was, although there's no denying his conviction playing.

As for the narrative structure, I felt that the the film failed to truly give Meek his due when he finally reached the top and believe his achievements deserved a bit more highlighting, before the round-the-corner Beatles-era of grittier bands with in-built songwriting teams with the flair and talent to display their own writing ingenuity and studio inventiveness, effectively consigned Meek to, quoting Chris Andrews' 1965 hit, a "yesterday man".

The second half of the film I think, follows a little too much the fortunes of Meek's fellow-travellers, particularly the ridiculously one-dimensional "little-voice" that was Heinz Burt. Indeed Meek's character disappears from the screen it seems for some time before we're jolted back to the closing scenes and his final demise. His story is undoubtedly a tragic one (suppressed homosexual, thwarted talent, moody artist) but I didn't think the film quite got behind his character enough and thus failed to catch the full parabola of his eventful life.

The recreation of the period is great though - from the swinging, jigsaw-style opening credits to the chaotic scenes in Meek's makeshift studio above his landlady's leather goods shop and good acting by almost all on board (helped by the main characters' physical similarity to their real life counterparts) and of course the reproduction of that so distinctive "Joe Meek sound" replete with plinky-plonk organ jungle-drums and loads of re-verb, often married to "death-disc" lyrics.

An entertaining step-back-in-time then, if ultimately falling short in its attempt to do justice to the memory of a haunted but very talented and singularly individual pop maverick. To paraphrase Brian Wilson from a little later in the decade, I guess Joe just wasn't made for those times.

Saw this last night at the LFF, and while it does betray its stagey origins from time to time, there is much to enjoy in this biopic of Joe Meek, legendary music producer and nutcase. The film doesn't shy away from the murkier aspects of this mercurial character's life - the drugs, the rent boys, the cottaging, the verbal and physical abuse meted out to all and sundry - but Meek does emerge as something of a sympathetic character. I guess that's why so many people put up with him - there must have been something charming about him.

Good performances - including a pointless cameo from Kevin Spacey as Meek's financial backer, the appropriately named Major Banks. Standouts include the young actors playing Heinz and Patrick, the latter being a general factotum-cum-boyfriend who is one of the few people loyal to the last.

Nick Moran should be commended for bringing this quirky, sometime shocking story to the screen - whether it will find an audience beyond 60s music fans or those with a morbid curiosity for stories of pop scandals will remain to be seen.

Incidentally, I live in Islington and walked home past 304 Holloway Road, where almost the whole film takes place. It did send shivers down my spine.

British films made by people like Richard Curtis (The Boat that Rocked et al) tend to look at the swinging 60's of London with heavily rose tinted spectacles. All pimms, waistcoats, flower power and crazy shenanigans. All very well but not much to do with reality - I thought Austin Powers would have killed that off in the 90's....which is why Nick Moran's directorial debut is such a breath of fresh air.

For those that don't know the Joe Meek at the centre of this film - control freak, gay in the wrong decade, tone deaf drug addicted musical pioneer - get ready for a roller-coaster of a ride. Without wishing to spoil the arc of the story, this is a classic tale of a man with a vision breaking new ground...with disastrous consequences.

Con O'Neil dominates this film with a superb manic performance which captures the claustrophobic and chaotic feel of the centre of Joe's universe, his recording studio above a handbag shop in central London in the early 60's. Ably supported by a host of good actors - in particular Kevin Spacey, Pam Ferris, and (even) James Cordon are all spot on. What looks like a cod-60's Curtis-esquire disaster for the first 20 minutes heads somewhere altogether darker once the action cranks up as Joe starts to get some no.1 hits in the charts.

A must watch cautionary tale about fame, love, jealously, paranoia and music, this is a fine carachter piece with some excellent nuanced comedy amidst the darker elements, it's a really well executed debut from Mr Moran...enjoy.

I do know something about the mad genius that was Joe Meek. Enough to know that putting his turbulent life into one film is not easy, others have questioned why other formative elements of his life was missed out, if a film is good enough though, surely it will engage those who have seen and enjoyed it to look into it further, using the medium we are now, the internet?

Con O'Neill is excellent as the troubled Meek, he has to dominate the film and this he does. While it's true that others in the story were sometimes rather younger than the actors playing them, remember back in this period, the 'teenager' as we now understand it, was only starting to emerge, young people then still often looked, acted, dressed older.

They usually left school at 14-15, at around 18 (like Meek) many had to do military service, hand me down clothes from parents were common. All this was changing, as part of the social changes sign posted by the music, which Meek played a part in but, as shown by his dismissal of The Beatles he was doomed not to recognise fully and play a further part in.

Meek was the British Phil Spector. But he, as the film well shows, did not enjoy the financial rewards of hits, but both were innovative, reclusive, obsessive and dangerous around firearms. (Given just how many times Spector drew guns on some of the most famous music stars, as well as lovers, business associates, was anyone really surprised at the tragic events at Spector's home in 2003, I certainly thought 'he's finally done it'.)

Most music or music based biopics fail as films, while 'Telstar' is not up there with the stunning exception that is Ian Curtis biopic 'Control', it's way better than 'Great Balls Of Fire'.

I was certainly kept engaged by this film.

Telstar is the satellite that inspired British music producer and his in house band The Tornadoes to launch the instrumental record which became the first US number 1 hit by a British group.

Meek who operated out of the top of of a leather good shop was a maverick like Phil Spector, and just like Spector with a fondness of guns.

The film starts and feels like a stage play very much in keeping with its origins as a stage play and low budget adaptation as a film. Con O'Neill (reprising the part from the play) plays Meek, harried, frazzled, on the edge with drugs keeping him going. Kevin Spacey makes a cameo as Major Banks his business backer who keeps the whole enterprise in even keel as we find that Meek is certainly no businessman.

Somewhere within the chaos of the upstairs apartment cum music studio Meek who could not read or write music and was ridiculed for being tone deaf managed to produced a string of heats and had major musician working under him such as Ritchie Blackmore, Chas Hodges. I shall omit Screaming Lord Sutch as a major musician though.

However the pill popping, plagiarism accusations, arrest for importuning in a public toilet, his falling out with the Major lead to deepening financial turmoil and the falling out with friends and musicians. The hits dried up and in a tragic demise he ended up shooting his landlady and himself.

The film by actor turned director Nick Moran is rather messy. Moran does well with a low budget to evoke a sixties atmosphere which is away from the swinging which was so beloved by past filmmakers.

Its nice to see support from Spacey, James Corden as well as some of the real life people who associated with Meek turn up such as Jess Conrad.

However the film feels overlong and as Moran tries to imbue Meek with some psychological character traits based on his upbringing and his past family life it feels like a failure as it adds little. Many people of his generation had family affected by The Great War or trauma in childhood.

I found this a middling film whose kinetic energy runs out midway through and the film starts to drag until the tragic ending.