A psychiatrist, living in Vienna, enters a torrid relationship with a married woman. When she ends up in the hospital from an overdose, an inspector becomes set on discovering the demise of their affair.
A doctor's wife tires of his obsession with model trains, and spends her days wondering about the son she gave up for adoption at birth. While eating at a roadside café, she encounters a ... See full summary »
Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by the mysterious Mr. Turner, a one-time rock superstar, who is looking for the right spark to rekindle his faded talent.Written by
According to co-director Cammell in a 90's documentary 'The Real Donald Cammell' the film originally featured roughly half an hour more of the otherwise short opening (london gangster) section of the film. The idea being that the film would show how the worlds of Chas,(Fox) and Turner,(Jagger) were linked by the idea of performance. It is alleged by Cammell that these scenes were cut at the 'suggestion' of infamous London Gangsters the Kray brothers, Ronnie and Reggie, for whom the scenes were too true to their London underworld 'Firm' to be shown. This footage is also referred to, as are many other lost, cut or 'alternative' scenes, in the numerous books either on or concerning the film. See more »
This film operates on multiple levels and in cultures that we barely knew existed in 1970. The East End London mobster culture being one and the London counter-culture of drugs and music another. To further lend a surreal air, Nicolas Roeg and Donald Cammel (who co-directed the film) present metaphors and psychological homologies- sadism, homosexuality, hierarchy in gangs and organizations- all stemming from central psychological needs for power and dominance combined with and expressed through sexuality. The first half of the film seems to anticipate Guy Ritchie- a glimpse into Cockney gangsters and "poofs" and then, Chas steps into Turner's lair and the film alters along with our consciousness. Suddenly, underneath the gangster/rockstar theme another, more deeply embedded theme emerges about identity and the part of others that we share in common(the deeper motivations and identities). Turner and Chas sense it in each other's "performance", all four main characters (arranged on a sexual continuum from the very female Pherber through 2 personae of androgyny to the very male Chas) explore their other parts as when Pherber puts a mirror, reflecting her breast on Chas. The shared motivational part comes from the "performance" of violence or art that Chas and Turner are fascinated by in each other. Add in some very strange camera angles and you have one of the very few films that ever did the impossible- represented altered consciousness to an audience (mainly) in straight consciousness. That last part depended on what year you saw it in theatres. In all, a very profound movie. Donald Cammell was a genius who never got his proper due.
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