| Cast overview, first billed only: | |||
| Jonathan Pryce | ... | Henry Couling | |
| John Simm | ... | Boatman | |
| Ken Russell | ... | Self | |
| James Greene | ... | Brian Aldiss | |
| Elizabeth Rider | ... | Roberta Howe | |
|
|
Luke Wagner | ... | Young Zak |
|
|
Anna Nygh | ... | Zak's Mum / Rita Bedderwick |
|
|
Howard Attfield | ... | Zak Bedderwick |
| Sean Harris | ... | Nick Sidney | |
| Edward Hogg | ... | Chris Dervish (as Ed Hogg) | |
| Bryan Dick | ... | Paul Day - 1970's | |
|
|
Nicholas Millard | ... | Tubs |
| David Kennedy | ... | Paul Day - Present day | |
| Ken Bones | ... | Henry Couling | |
| Jane Horrocks | ... | Roberta Howe | |
In the 1970s a music promoter plucks Siamese twins from obscurity and grooms them into a freakish rock'n'roll act. A dark tale of sex, strangeness and rock music.
This film lingered in the memory for days after I saw it. It was a portrait, not only of the scabbier side of the music business, but of the intimacy, love and hate that exists between siblings of all descriptions. A lot of it rang true; the cinematic values were lovingly collaged within an overall 'feel' that was at times stunningly beautiful. The performances, particularly of the real-life identical twin brothers, Luke and Harry Treadaway, were lyrical, loving and intense. There was a sense that these two talented actors-who are also rock musicians in their own right, no musical stand-ins or overdubbing here-were giving the performances of a lifetime. After all, how many conjoined-twin-rock-star movies are there likely to be? Having said that, the fictional Howe brothers made a stunning metaphor for the freakishness that is almost a natural part of getting on a stage and screaming into a microphone; it really looked as though it could work, especially in this post-Slipknot world.
The plot was, at times, obscure; there was perhaps a bit too much cleverness in the multiple, and terribly post-modern, overlapping of supposedly-documentary narratives. I found that there was so much going on within the structure that I hardly noticed the climax of the story.
In all, to my surprise, I would describe this as a beautiful film, but with enough rock'n'roll grit to keep me riveted. We need more films like this.