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
I don't recognize your voice.
Well, I've been away, haven't I?
And I don't recognize your face.
You should see my motor.
[looks at Chas quizzically]
My motor. Had an argument with a cement wall on the way over. Goodbye the Ferrari.
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In most versions the voices of Johnny Shannon, John Bindon and Laraine Wickens have been overdubbed. This was because the actors' own voices were thought to be "too cockney" for non-UK audiences to understand. The 2007 Region 2 DVD (DY11687) features the voices of all three actors throughout the feature, none of the previous overdubs are present in this version. 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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