London, 1965: Like many other youths, Jimmy hates the philistine life, especially his parents and his job in a company's mailing division. Only when he's together with his friends, a 'Mod' ...
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This is the hard and shocking story of life in a British borstal for young offenders. Luckily the regime has changed since this TV film was made. The brutal regime made no attempt to reform... See full summary »
Trevor is a 16 year old, sometimes-violent skinhead with no regard for authority, and would rather spend his time stealing cars than sitting in the detention centre to which he is sent. His... See full summary »
The family of Raymond, his wife Val and her brother Billy live in working-class London district. Also in their family is Val and Billy's mother Janet and grandmother Kath. Billy is a drug ... See full summary »
'John McVicar' was a London Bad Boy. he graduated to armed bank robbery and was Britain's "Public Enemy No. 1". He was captured and put into a high security prison. Will even the highest ... See full summary »
Originally filmed in December 1968, "The Rock and Roll Circus" was originally intended to be released as a television special. The special was filmed over two nights and featured not only ... See full summary »
London, 1965: Like many other youths, Jimmy hates the philistine life, especially his parents and his job in a company's mailing division. Only when he's together with his friends, a 'Mod' clique, cruising London on his motor-scooter and hearing music such as that of 'The Who' and 'The High Numbers', does he feel free and accepted. However, it's a flight into an illusionary world. Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
When Jimmy enters the scrap yard to see Peter Fenton, an 'NF' (National Front, a British white supremacist political party) graffiti is seen scrawled on the gates. The National Front was not officially formed until 1966, and its 'NF' symbol was not commonly seen in graffiti until the mid 1970's. See more »
[on Kev's leather jacket]
'Ere, I never realized.
Never realized what?
You's a rocker.
What, am I black or something?
Well you ain't exactly white in that sort of get up, are you?
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One of the finest British films ever made, QUADROPHENIA is a gritty and compelling study of the early 1960s mod phenomenon, originally released in 1979 as bands like The Jam were engineering a comeback of the whole parkas and scooters style fetish. Talk about perfect timing. I was five when all that was happening, and I can still remember seeing vast gangs of teenagers chanting "We are the mods, we are the mods" on their way to school. This film had a huge impact - even moreso when it was screened alongside the harrowing borstal drama SCUM (1978) on one of the all-time greatest double bills. The film tells the story of Jimmy, a slightly paranoid, definitely angst-ridden and certainly hate-fuelled young man desperate to escape his complacent background and low-status job by riding with the local mod contingent. For one reason or another, Jimmy just doesn't fit in. When all his friends have found female companions at a wild party, Jimmy is reduced to smashing up the garden with his scooter to relieve his frustrations. He seems to have a very childish desire to be the centre of attention all the time - when all the girls in the ballroom are admiring the 'Ace Face', Jimmy takes a potentially fatal dive off the balcony and into the crowd below. The only time he feels like one of the crowd is when he is part of the huge, bloodthirsty throng of mods who converge on Brighton one weekend with a view to beating up as many rockers as possible and causing a vast amount of criminal damage. But when he returns to London, his life falls apart, and the final half-hour or so is absolutely riveting in its unflinching study of a very confused Jimmy finally coming apart at the seams. All the performances are top notch, and the film whips along at a devastating pace, fuelled by the Who's wonderful soundtrack and Franc Roddam's energetic direction. Despite a couple of anachronisms (notice the double reissue of 'The Who Sell Out'/'A Quick One' in the party scene, long before either album was even recorded!) this is a striking and vivid evocation of a time and place that remains frighteningly relevant today. SEE IT.
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