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>
In one scene Jimmy and his friends drive their scooters with a 'Goldhawk Building Society' sign prominently visible in the background, on the side of a railway bridge. This organization did not come into existence under that name until the early 1970s and had folded by 1981. See more »
I don't give a monkey's arsehole about Mods and Rockers. Underneath, we're all the same, 'n't we?
No, Kev, that's it. Look, I don't wanna be the same as everybody else. That's why I'm a Mod, see? I mean, you gotta be somebody, ain't ya, or you might as well jump in the sea and drown.
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There are at least 4 scenes that have been deleted from the final film. These scenes have never been released anywhere in full, apart from on a short documentary that came with the 1997 UK video, but even then they are shown as photographs and not the actual full scenes. Most notable was the entire deletion of almost all of the dialogue from Ace Face (played by Sting), including 2 extended scenes from the police van and one of all the mods meeting up on their scooters before going to Brighton. Supposedly, the reason that all of Ace Face's dialogue was deleted was that Sting and the producers both agreed that this ruined his 'mysterious' character that he was playing and also may have taken the focus of the protagonist of the story, Jimmy. See more »
life's core brutally and artfully revealed - 10+++
What a wonderful film. If you ever thought you were safe, or that your world was impregnable, then you must see this film. Watch as every important elements of a young man's (Jimmy's) life is stripped away, piece by piece, until he has no anchor, no magnet, and no direction in life.
Without his familiar crutches (hooliganism, drugs, girlfriends, Mod clansmen, job, parents, home and 'scooter'), Jimmy is faced with a terrifying realization that he - alone - must completely rebuild and reinvent himself.
In a way that is hard to describe in words, director Franc Roddam exposes the raw core of life, unadorned by all the temporal things by which we measure success, worth and happiness. Better still, he forces the viewer to examine the very definition of 'a life'.
The movie generates ever increasing momentum, culminating in one of the most intensely disturbing realizations ever captured on film, with the white cliffs of Dover as the foreground, and the The Who's equally monumental and haunting "Love Reign O'er Me" in the background.
With the possible exception of Bill Murray's version of "The Razor's Edge", this is about as perfect a chance as we are ever afforded to examine the foundations of our own lives (...what more can you ask of a film?). Though this is not an uncommon cinematic theme, it has never been so brilliantly achieved.
An emotional and spiritual tour de force, and simply one of the best films ever made.
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