Filmplakat Quadrophenia. Sting in. Phil Daniels, Leslie Ash und Philip Davis in einem Film von Franc Roddam. Einmalig, nur HEUTE! English version (OV). Quadrophenia jetzt legal online anschauen. Der Film ist aktuell bei Amazon, iTunes, Google Play, freenet Video, Microsoft, videociety, Cineplex Home, CHILI,. Nach Ken Russells "Tommy" () ist "Quadrophenia" der zweite Film nach einem Konzeptalbum der Rockband The Who, deren eigene Ursprünge in der.
QuadropheniaQuadrophenia jetzt legal online anschauen. Der Film ist aktuell bei Amazon, iTunes, Google Play, freenet Video, Microsoft, videociety, Cineplex Home, CHILI,. Der junge Mod Jimmy hat im Musik-Drama Quadrophenia nur ein Ziel: Zu der Musik von The Who will er zum großen Mod-Treffen nach Brighton Beach, wo. Filmplakat Quadrophenia. Sting in. Phil Daniels, Leslie Ash und Philip Davis in einem Film von Franc Roddam. Einmalig, nur HEUTE! English version (OV).
Quadrophenia Film Contribute to This Page VideoQuadrophenia (Subtitulos en castellano ) Quadrophenia was about England’s Mod scene and based off of the Who’s rock opera. The film focuses upon the rise and fall of Jimmy (Phil Daniels) who at first escapes from his dreary life with his Mod friends and then everything comes apart on him. Throughout there is music by the france11.com: R. Quadrophenia (film) Quadrophenia. (film) Quadrophenia je britanski igrani film snimljen godine u režiji Franca Roddama kome je predstavljao cjelovečernji debi. Predstavlja adaptaciju istoimenog albuma, odnosno rock opere grupe The france11.comžak: Quadrophenia; autor: The Who. 1/20/ · “A way of life” describes Mod culture of the s and 70s according to Quadrophenia (, Roddam), encompassing what popular music means to British film and identity to this day.
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Franc Roddam. Dave Humphries Franc Roddam Martin Stellman Pete Townshend. Sean Barton Mike Taylor. Mar 24, As the s wore on The Who increasingly turned their attention from music to filmmaking.
Following Ken Russell's Oscar-nominated adaptation of Tommy, the band gained a stake in Shepperton Studios.
Here they filmed the final scene of The Kids Are Alright, in what turned out to be Keith Moon's last live performance. After production wrapped on The Kids Are Alright, the group pressed on with adapting their other rock opera, Quadrophenia.
In bringing Quadrophenia to the big screen, the band and first-time director Franc Roddam took a completely different approach than they had for Tommy.
Ken Russell had a deep-seated interest in opera and classical music: he treated the material as an opera which just happened to have been written by a rock band.
The finished product was a divisive mixed bag: amidst some striking imagery and memorable characterisation, there was a lot of bad singing, over-indulgence and naff pomposity.
Quadrophenia is more like a coming-of-age film which documents the rise and fall of the original mods. Its storyline interweaves elements of the rock opera out of album order, and its soundtrack balances The Who with other mod favourites like The Kinks, The Ronettes and The Crystals.
The film is around 40 minutes longer than the album even with several songs cut out, taking its time to set up the mods' aims, culture and modus operandi.
To understand the reasons for this approach, we have to consider the changing circumstances of the band. When Tommy was made, The Who were at the height of their power as a live group; they had both the money and the fame to be a little over-exuberant.
Four years later, punk had moved in and swallowed up the younger generation, leaving The Who in a no-man's-land between circus-act obsolescence and risky reinvention.
After the death of Keith Moon, the band lost some of its live firepower, so that even if they had wanted to recapture the old ground, they could no longer drown out their rivals.
Much of Quadrophenia is about The Who trying to justify their continued existence by examining the foundations of the culture which launched them.
Just as The Who were retrospectively described as the original punk rock band, so there is an attempt to portray the mods as the direct predecessors of the punks.
There is some similarity in their characterisation, as gangs of young people with a unique dress sense, who eschew all authority and are generally unpleasant to anyone outside their inner circle.
Roddam even screen-tested Sex Pistols frontman Johnny Rotten for the lead role, but he was dropped because no-one would insure him.
Despite this earnest desire to justify themselves, the approach of The Who's surviving members is decidedly hands-off. Unlike Tommy, the band do not appear in person, either as themselves or in character for instance, Keith Moon playing Uncle Ernie with a worrying amount of relish.
We are therefore spared the prospect of Pete Townshend et al playing themselves aged 21, in the manner of Mariah Carey's excremental Glitter.
There are only two occasions in which we see the band: once on a poster of Pete Townshend next to Jimmy's bed, the other in an early TV performance from Ready, Steady, Go!.
This strange sense of modesty is further reflected in the soundtrack, which was overseen by bassist John Entwistle. In Quadrophenia the songs are mixed right down to serve as background, rather than being the driving force for the action.
When 'My Generation' gets played at the house party, you quickly get the mods shouting over it until Roger Daltrey's delivery becomes totally lost.
The film is emphasising the effect which this music had rather than the band that created it; we have to focus on Jimmy as a character rather than as a vessel for different aspects of the group.
Although this approach may disgruntle purists, the music in Quadrophenia is still of a high quality. Of the seventeen album tracks, ten survive in either their original form or with very slight alterations - for instance, the new bass part and more definitive ending of 'The Real Me', which plays out over the opening credits.
The three original compositions which Townshend penned are also up to snuff: they may be more deliberately incidental, but they still feel like Who songs, and the oft-maligned Kenney Jones manages to at least partially replicate Keith Moon's drumming style.
Quadrophenia is a character study of a confused young man, who attaches himself to the mods as a means of identity, but starts to go to pieces when they desert him.
Early on in the film he meets his childhood friend Kevin a young Ray Winstone , who has just returned from a spell in the army. Jimmy has a warm bond with Kevin, but whenever his friends turn up he changes his tune and runs with the pack - right down to him fleeing the scene when Kevin is beaten up for being a rocker.
The central idea of Quadrophenia is that of youth-led revolution. The mods were the first genuinely post-war teenagers; having no real attachment to the world or values of their parents, they saw no reason to accept the old way of life.
The scenes of the Brighton riots are edgy and visceral, showing the gang mentality of both mods and rockers, and the cluelessness of the police who simply don't know how to respond t to a generation that doesn't care.
When the magistrate orders him to pay a fine, the Ace Face played unconvincingly by Sting responds by getting out his chequebook, causing the whole court to erupt with laughter.
But rather than simply glorify the mods, Quadrophenia highlights the dangers of identifying with such a culture too closely. Just as The Who only became truly successful after the mods died away, so Jimmy only gets to see 'the real me' when the scales have fallen from his eyes.
Having been thrown out of home, jilted by Lesley Ash and his prized scooter wrecked by a lorry, he decides to return to Brighton.
After a drug-fuelled train journey "out of my brain on the " , he finds the mods gone and the Ace Face working as a bell boy at the hotel they smashed up.
Alienated and depressed, Jimmy throws Ace's scooter off Beachy Head. The scooter, like the mods, is smashed beyond repair, while the fate of Jimmy remains unknown.
There are a number of flaws with Quadrophenia. Despite the impressive choreography during the riots, Franc Roddam's direction is not great - the choice of camera angles is rather jobbing and the sequence on the cliffs could have used a couple of big edits.
The first hour feels padded out, taking too long to get to Brighton and dragging narratively: there are only so many parties, bars and cafes we need to visit to understand how mod culture works.
Police Officer uncredited. Girl with Steph uncredited. Disco Dancer uncredited. Policeman uncredited. Mod uncredited. Nicky uncredited.
Boy at Party uncredited. Biker Girl uncredited. Rocker in Police Van uncredited. Magistrate uncredited. George uncredited. Jimmy's Gang Member uncredited.
Fighting Rocker uncredited. Police Sergeant uncredited. Door Bouncer uncredited. Chief Rocker Girl uncredited. Lady on Train uncredited.
For the album, see Quadrophenia. UK theatrical release poster by Renato Casaro. Roy Baird Bill Curbishley. Dave Humphries Franc Roddam Martin Stellman Pete Townshend.
Phil Daniels Leslie Ash Toyah Philip Davis Mark Wingett Sting Ray Winstone. The Who Various Artists. Release date. Running time. Phil Daniels as Jimmy Cooper Leslie Ash as Steph Philip Davis as Chalky Mark Wingett as Dave Sting as Ace Face Ray Winstone as Kevin Herriot, Jimmy's childhood friend Gary Shail as Spider Garry Cooper as Peter Fenton, Steph's boyfriend Toyah Willcox as Monkey Trevor Laird as Ferdy Andy Sayce as Kenny Kate Williams as Mrs Cooper, Jimmy's mother Michael Elphick as Mr George Cooper, Jimmy's father Kim Neve as Yvonne Cooper, Jimmy's sister Benjamin Whitrow as Mr Fulford, Jimmy's employer Daniel Peacock as Danny Jeremy Child as Agency Man John Phillips as Magistrate Timothy Spall as Harry the Projectionist Patrick Murray as Des the projectionist assistant George Innes as Cafe Owner John Bindon as Harry North, gangster P.
Moriarty as Barman at Villain Club Hugh Lloyd as Mr Cale Gary Holton as aggressive Rocker 1 John Altman as Johnny 'John the Mod' Fagin Jesse Birdsall as aggressive Rocker 2 Oliver Pierre as Jimmy and Danny's tailor Julian Firth as drugged up Mod Simon Gipps-Kent as party host uncredited Mickey Royce as Ken 'Jonesy' Jones James Lombard as Nicky Dave Cash as newsreader uncredited John Blundell as the Rockers leader uncredited.
Main article: Quadrophenia soundtrack. British Board of Film Classification. Retrieved 15 October The Guardian. Your Face Here: British Cult Movies Since the Sixties.
HarperCollins UK. Archived from the original on 8 November Retrieved 15 November Retrieved 3 December The New York Times.
Retrieved 14 March Retrieved 8 September Rotten Tomatoes. Creative Loafing Charlotte. Archived from the original on 31 August The New York Times via Internet Archive.
Published April 29, Emmeline Analysis , Culture , film , Film Reviews , Music , Uncategorized Jan 20, 4 Minutes.
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