A psychiatrist, living in Vienna, enters a torrid relationship with a married woman. When she ends up in the hospital from an overdose, an inspector becomes set on discovering the demise of their affair.
After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife, and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
After being released from prison, Billy is set to visit his parents with his wife, whom he does not actually have. This provokes Billy to act out, as he kidnaps a girl and forces her to act as his wife for the visit.
In 17th-century France, Father Urbain Grandier seeks to protect the city of Loudun from the corrupt establishment of Cardinal Richelieu. Hysteria occurs within the city when he is accused of witchcraft by a sexually repressed nun.
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
Most of the audience walked out of the first preview screening. The release was delayed for two years while it was re-edited three times. Editor Frank Mazzola used montage of images and time jumps which later became his trademark style. See more »
[on the intercom outside as Chas rings the front door]
"Leave a message after the beep. Beep, beep, BEEP!
See more »
The 1997 Warner Home Video 'Maverick Directors' Widescreen PAL-VHS edition of 'Performance' (Cat. No: S015399) and the 2007 Region 2 DVD (DY11687) feature shots not featured in previous "X" cuts (such as 1981 Warner Home Video PAL-VHS WEV 61131). These appear while Chas (Fox) is being whipped by Joey Maddocks (Valentine), S015399 and DY11687 feature a reverie while Chas loses consciousness. This is a montage of shots of boxers. Chas (Fox) shoots Joey (Valentine), who is now seen, unlike in previous versions, to rise from the bed and mutter something at Chas's feet to which he replies 'You're dead Joey'. Directly after, Fox has another newly featured line in which he tells the remaining hood (Murray) to 'Get out of my flat'. See more »
This film operates on multiple levels and in cultures that we barely knew existed in 1970. The East End London mobster culture being one and the London counter-culture of drugs and music another. To further lend a surreal air, Nicolas Roeg and Donald Cammel (who co-directed the film) present metaphors and psychological homologies- sadism, homosexuality, hierarchy in gangs and organizations- all stemming from central psychological needs for power and dominance combined with and expressed through sexuality. The first half of the film seems to anticipate Guy Ritchie- a glimpse into Cockney gangsters and "poofs" and then, Chas steps into Turner's lair and the film alters along with our consciousness. Suddenly, underneath the gangster/rockstar theme another, more deeply embedded theme emerges about identity and the part of others that we share in common(the deeper motivations and identities). Turner and Chas sense it in each other's "performance", all four main characters (arranged on a sexual continuum from the very female Pherber through 2 personae of androgyny to the very male Chas) explore their other parts as when Pherber puts a mirror, reflecting her breast on Chas. The shared motivational part comes from the "performance" of violence or art that Chas and Turner are fascinated by in each other. Add in some very strange camera angles and you have one of the very few films that ever did the impossible- represented altered consciousness to an audience (mainly) in straight consciousness. That last part depended on what year you saw it in theatres. In all, a very profound movie. Donald Cammell was a genius who never got his proper due.
42 of 48 people found this review helpful.
Was this review helpful to you?
| Report this