Morbid biographical story of Sid Vicious, bassist with British punk group the Sex Pistols, and his girlfriend Nancy Spungen. When the Sex Pistols break up after their fateful US tour, Vicious attempts a solo career while in the grip of heroin addiction. One morning, Nancy is found stabbed to death and Sid is arrested for her murder.Written by
Alexander Lum <aj_lum@postoffice. utas.edu. au>
The music video for Joe Strummer's "Love Kills," is sort of a fantasy sequel to the film, where a heavily disguised Sid Vicious (played again by Gary Oldman) faked his death and fled to Mexico, where he runs afoul of the local constabulary. See more »
In one scene where Sid and Nancy are lying in bed together, one shot shows Sid lying with his arm dangling over the side of the bed. His wrist is bare. In the next shot, his hand is right up next to his face and a studded cuff has appeared. See more »
Why don't you shut up and fucking sing you twat.
You're well out of time, Sid.
Bollocks, you wanker.
Play the fucking song, will ya.
Ever get the feeling you've been cheated?
See more »
"And introducing the young Cat Vicious in the role of Smoky, Sid and Nancy's child." See more »
This vivid recreation of the last, not quite desperate days of Sex Pistol Sid Vicious and his junkie/lover Nancy Spungen celebrates all the pathetic excesses of punk rock anarchy, but without the overwrought clichés Oliver Stone would later use to embalm kindred rock martyr Jim Morrison. It would be hard to find a more honest and unsettling portrait of show biz degradation, and yet the two lovers shared an almost tender (if self-destructive) affection for each other, conveyed by director Alex Cox with a gritty, forthright lyricism (their silhouetted embrace amidst a hail of garbage provides the film's most telling image). If nothing else, the pair were certainly more loyal to the nihilistic punk aesthetic than their contemporaries, and the film chronicles their slow, co-dependent suicide from the gutters of swinging London to the alleys of New York City, with an ill-conceived detour to Nancy's white-bread Middle America homestead. Gary Oldman brilliantly captures the ignorant anger (and sometimes disarming innocence) of the man described by Sex Pistols manager Malcolm McLaren as a "fabulous disaster", and Chloe Webb is equally fine as the ugly duckling drug addict Nancy.
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