剧情简介
If nothing else, this is the only Pistols film (there are now at least 3) to ke explicit and in-depth reference to the band members' working class roots, and the way that experience informed their project. This alone kes the film worth seeing, as it explodes the myth, fostered no doubt by their PT Barnum nager, Malcolm McLaren, that the whole project was an exercise in cynical nihili and money grubbing. As the band members tell it, nothing could he been further from the truth. I believe them. The film is cobbled together in large part from 2 previous Pistols documentaries, "Rock 'n' Roll Swindle," (a McLaren project also directed, ironically enough, by F&F director Julie Temple) and "D.O.A," plus clips from BBS television and elsewhere that try to locate the Pistols in the political and social clite that spawned them. This effort, to give the Pistols a historical context, is by far the most valuable part of the film for those trying to understand how a bunch of working class stiffs, who could barely play their instruments, and who only released one album, could set off an explosion that reverberates in the music world--if increasingly faintly--even today. Best part of the film: footage from their last, secret gig at a palace in a working class district (they had been banned from appearing anywhere in England) before embarking on their ill-fated US tour. It consists of two perfornce on Christs Day, benefiting the families of striking local firefighters, who had been out of work for ny months. The attendees consist of the local lads and lasses, none of whom are "punk" in any apparent sense of the term. Before the Pistols performed, everyone eats Pistols cake and ice cream; "Never Mind the Bollocks" shirts are stretched over the pubescent bos of every bobby soxer. Then, after a thank you from the emcee, the Pistols launch into the searing "Bos," its sarcastic refrain sung from the point of view of an aborted fetus ("I'm not an anil!/I'm an abortion..."). All the boppers dance like it's a sock hop, with the difference that everyone gleefully throws leftover desserts at one another. Steve Jones is shown playing guitar with his face covered in cake icing, beaming. In his reminiscence about the gig, Rotten grows wistful, saying it was easily their best memory as a band, and the last good one before it all fell apart. I never knew the guys were such sentimentalists. It's hard to believe that there once was a time when rock music could actually tter, when it was possible to actually escape the ommodified rebellion that now sells Budweiser, Nike, and SUVs, when it was possible, however briefly to scare the pants of the political establishment. Young pop music lovers who swallow the meretricious rebellion of rap or grunge--whose self-important lyrics and idiotically monotonous rhythms ke their authors rich off the weekly allowances of white middle class kids whose idea of rebellion is big loud subwoofers in the Corolla Daddy bought them for their 16th birthday--might profit from getting a glimpse of the Real Thing. The rest of us, who were lucky enough to he been there when history was de, and who can still recall the opening chords of "Anarchy in the UK" blasting all traces of "More Than a Feeling" and "Take It Easy" out of our speakers cabinets and into the first circle of music Hell where they always belonged, can enjoy the film for what it teaches us about the power of ordinary, thoroughly obnoxious people to ke their own history, and ours.
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