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Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by the mysterious Mr. Turner, a one-time rock superstar, who is looking for the right spark to rekindle his faded talent. Written by
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I don't recognize your voice.
Well, I've been away, haven't I?
And I don't recognize your face.
You should see my motor.
[looks at Chas quizzically]
My motor. Had an argument with a cement wall on the way over. Goodbye the Ferrari.
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Gangland enforcer James Fox gets involved with decadent fading rock star Mick Jagger in Nicholas Roeg's and Donald Cammell's cult film
Few films encapsulate drug-crazed Swinging 60s London like this one, though it was only seen three years after it was made and then heavily-edited because Warners were shocked at what they had financed. The film exceeded the boundaries of good taste that always epitomized British cinema.
This superbly shot, deeply disturbing, complex, often pretentious, often brilliant parable of confused identity was the first feature directed by leading cinematographer Roeg, sharing the credit with artist Cammell.
An eerily plausible Fox, cast against type, plays Chas, a sadistic gangster on the run who rents a room in the Notting Hill Gate home of Turner (Jagger), a reclusive, sexually ambiguous, washed-up rock star. Fox, his antithesis, is offered women and magic mushrooms before literally swapping personalities with the singer.
Fox abandoned the cinema for almost a decade after this film, such was its effect on him.
Verdict A dazzling, ideas-rich, extraordinarily inventive full-stop to the 60s
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