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Totti i film sul Punk
How come it seems impossible that a movie about punk is really a movie about punk? It is not only a Hollywood problem in this case, even though the problem is more obvious in these cases than in independent films. The fact is that even the more or less independent films fail to capture the spirit of punk and mock every aspect of it.
I recently had the sad experience of seeing CBGB, a film that wants to capture the first years of this club's life (I use the term in a very broad sense), then some of the most legendary acts that took their first steps in this place. The movie is so painful that it could be seen as a kind of error manual to avoid if you want to make a good movie about punk rock, but its ugliness immediately reminded me of other attempts that could fall into the subgenre of punk movies, the subgenre full of cult movies, but also shit full of clichés.
So here's my little list of the best / worst movies ever made on this subject (I deliberately avoid documentaries that deserve a separate article). Although I believe/expect CBGB to be the birth of an asshole executive producer, I'm pretty sure it's a passionate project from Randan Miller.
If you know who Miller is, I shouldn't explain anything else, if you're not, then you just know that he's responsible for big movies like A Basket for Two, a basketball movie or Bottles Shock, a wine movie. So what the hell does this have to do with punk? But above all, what is so untenable about this film?
Other moments in the film are: a great scene in which the sound engineer "Taxi" - for the dual function of not stepping on shit and preventing fleas from reaching his ankles - buys a pair of military boots (an act the film depicts as an enlightening moment) / The Ramones playing "I Wanna Live" (a play that is performed in the
1987) during the CBGB rehearsals (we are about 1974) / many stickers of contemporary bands appear (I don't know if it was a habit or a forgetfulness of the director) / and some of the most obscene pantomimes of actors playing musical instruments (my favorite is Evan Axel Cole's),
The fact that the film had licensing problems, which is why the Ramones play chronologically outdated plays, doesn't justify the director's shitty decisions. To be honest, there are some nice things about this movie. Here, this movie leaves me exhausted. Alex Cox's Sid and Nancy is a film that is very different from his masterpiece Repo Man.
The film is painful in many ways. Those who see the glass half full see this film as a tragic story of two lovers trying to fight a terrible addiction, others instead see a kind of glorification of the heroine who can hardly be disguised as a punk film. Anyway, this is a film that deserves to be seen, so much so that many of the people who have seen it will find something good there.
When I say incredible, I mean that I don't believe that in any other film no other actress has managed to make a character so irritating. Probably its only positive side is its truthfulness, but I swear to you that after seeing the film only once, I have already realized that Nancy's voice can be used as an instrument of torture.
That would be very effective. Well, I don't like this movie, but it's not the story or the drug situation, it's definitely Nancy's fault. Somehow SLC Punk has managed to get into the minds of many punks, even though he is completely ignorant. I can agree with the fact that some moments in this movie are really funny and not just ridiculous.
The only main problem of this movie is that it tries to be a vade mecum about how to become punk, even though in the end the moral behind it is that the most important thing you can do is get a job in capitalist structures and try to destroy them from within. Well, the only thing that got this movie at the end is to justify a lot of office punk who feel at peace to live the way they live and really believe that they are helping to bring down the system.
Maybe it's time to face the fact that you don't do anything when you're sitting on a chair, and I blame SLC Punk for making you think you're not. Mentions of shame: Pot Zombies, Wassup Rockers and SubUrbia (not to be confused with Suburbia, SubUrbia is the terrible and monotonous film by Richard Linklater/Giovanni Ribisi).
"Common fucked people," when you see this joke, you understand why this movie is one of my favorites, I think it's the best punk movie ever. I can' even imagine how it came to such a film, but he was born for a wonderful astral conjunction. It' a practically perfect film, it was also distributed by the renowned Criterion Collection.
The film is great because it manages to break through many genre conventions and pass on its special form of humor. However, I think that the reason why this film has had such an impact on the punk community is that it has no normality at all. Normal people, normal jobs and even normal movies are brought into the press by Cox's vision, and the characters are born in this undergrowth of anomalies.
"And then, who couldn't love a movie in which the great Harry Dean Stanton screams insultingly: "Gypsyildo-Punk! "Second place is Suburbia by Penelope Spheeris. After making a name for herself with the punk documentary The Decline or Western Civilization and being successful with Wayne's World, she made the bang with Suburbia, a film with incredible dialog ("Where's the war?" "Up your ass."), appearances by DI, TSOL and The Vandals and a line-up that was almost exclusively made up of real punks.
And yes, before you can figure it out for yourself, I'll tell you that Fleh was in the movie. Anyway, the movie was released in the same year as the Red Hot Chili Peppers, so the guy was a punk like everybody else back then.
The Suburbia differs from the Repo Man in tone and posture. While Repo Man tries to emphasize nothing but pure exclusion, Suburbia beckons Hollywood's fiction. But the best part of the movie are the parts where Holywood has nothing to do with it, the anomaly achieved by trying to stick to the norm is perhaps the biggest punk thing.
Besides, it's a warm film, maybe a bit melodic and sentimental at times, but it's really funny and should be seen by all punks or so-called punks. Of course you can't talk about punk movies without talking about rock'n'roll high school. Produced by B-movie legend Roger Corman, the film presents all that is beautiful about the cinema of the 80s.
Of course the big names of independent movies grew up in these years (Spike Lee, the Coen brothers etc.), but also all our love movies like Rock 'n' Roll High School, Killer Klowns from Space and The Toxic Avenger were born. This movie is terrible in many ways, but it is this terribly beautiful movie, a movie that has depth under all this sticky aura.
It' a mixture of teenage films from the sixties, musicals and absurd comedies, but also the dream of every true Ramones aficionado. Where Sid and Nancy don't manage to humanize the everyday life of a punk, Rock'n'Roll High School succeeds by simply not giving a damn about realism.
An un vio cultito. I admit that Desperate Living is technically not a real punk film, because it's not about culture or punk characters. However, I chose to record it because John Waters is the true king of punk theater. Although his films deal with other themes, there is always something about him that is conveyed in his art, basically punk.
It is not my favorite Waters movie, but it is the one that impressed me the most, because it is one of the most disturbing and uncomfortable movies I have ever seen, and I loved every minute of it. Minzioni d'Onore: Return of the dead, class of the atomic bomb "Em High, and Thrashin".
I carried my copy of Lexicon Devil to school as well, like a copy of War and Peace or another big book that was a big fan of other students. From here you could think that I would be predestined to hate a film made specifically to capitalize on something I liked so much, but I didn't do that.
Of course, the movie has some problems, the most obvious one is the narrator's voice. There are also many narrative breaks in this film: it goes from the pseudo-documentary to the classical tone, and then into the narrative side characters that have nothing to do with it and seem to have been placed there by chance, just to fill the plot.
Apart from this very special narrative structure, some questions have been raised about the historical truth of this film. For me, the positive elements weigh much more than the things that get fucked up there, but the important thing is that I think this is one of the few movies, if not the only one, that frames the homophobia in the punk scene of the late 1970s/early 1980s in Los Angeles without exploiting this theme or reducing it to schemata.
What I love most about this film is the way it presents music. Instead of obscene pantomimes (read: CBGB), all performances were re-recorded for this film to get a more realistic feel. This element helps to increase the authenticity of the rest of the film. I' m not even sure if it's a good movie, but there are aspects that deserve to be appreciated.