Tag Archives: Gary Oldman

Rocks In The Attic #614: The Sex Pistols – ‘The Great Rock ‘N’ Roll Swindle (O.S.T.)’ (1979)

RITA#614.jpgI saw Alex Cox’s Sid & Nancy recently. I’d avoided it all my life, not being a particular fan of either Alex Cox films or the Sex Pistols. I like Never Mind The Bollocks of course, I think it’s an essential rock and roll record for any collection, but to borrow a phrase of my Dad’s, I wouldn’t spit on them if they were on fire. Which begs the question – if there was a fire at a Pistols gig, would the audience be able to summon up the required levels of spittle to extinguish it?

There’s an unwritten law that bands from lower socio-economic backgrounds can’t be intellectual. To be intelligent is to be phoney. As long as they’re wise to the fact that they’re downtrodden by society, that’s all that matters. So you get people like John Lydon – arguably a very bright individual – pulling retarded faces and generally acting like a buffoon to get attention.

That first wave of British punk – and especially the Pistols – seemed to cultivate this trope. They even fired original bass-player Glen Matlock for being ‘boring’ (read: intelligent and articulate). He also washed his feet constantly in the sink and liked the Beatles, two things forbidden in the punk handbook.

Matlock’s replacement, the oft-celebrated Sid Vicious, represents for me everything that’s wrong about punk. Brought into the band because he looked good and was a friend of Rotten’s, his short tenure in the band only served to fuel the band’s notoriety. To go back to the Beatles, Vicious was essentially the Stuart Sutcliffe of the Sex Pistols – terrible at playing his instrument, but a good comrade and one that looked appealing (even if he didn’t sound appealing). Even punk bands of today will use Sid Vicious as their archetype. Green Day, who like to think of themselves as a punk band, but are just as much of a corporate shill as Taylor Swift and Katy Perry, have traded for decades on the sneer and attitude of Sid.

Gary Oldman’s portrayal in Sid & Nancy feels spot-on, when you compare it to interview footage from Sid’s few years in the limelight. He’s a junkie idiot, plain and simple, and the really cynical thing about the film is that it seems to celebrate Sid – holding him up as a hero and a martyr for punk.

I haven’t seen The Great Rock ‘N’ Roll Swindle – the Julien Temple mockumentary that this album soundtracks. I might get around to it one day, but I’ve had my fill of the Pistols for the time being. The record stands for itself though, and makes for a pretty interesting listen – a double-record with lots of archival live rehearsals, combined with some oddities. Sid croons through My Way and succeeds through some rock and roll covers, there’s an early, weightier version of Anarchy In The UK, and for a bit of levity some off the wall Pistols covers by a disco group, a trio of French street musicians and Great Train Robber Ronnie Biggs backed by Pistols guitarist Steve Jones and drummer Paul Cook.

Hit: Anarchy In The UK – The Sex Pistols

Hidden Gem: Black Arabs – Black Arabs

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Rocks In The Attic #608: Various Artists – ‘True Romance (O.S.T.)’ (1993)

RITA#608.jpgIn the early 1990s, director Tony Scott was handed a piece of gold dust. Quentin Tarantino, a cocky, young up-start had been circling Hollywood for a few years trying to develop his first script, True Romance. Tarantino decided to sell the script, and Warner Brothers snapped it up greedily. In hindsight it would have been too large a project for a first-time director anyway.

Instead Tarantino turned his attention to his next script, a simpler heist story called Reservoir Dogs. This would have been an easier film to pitch with him as director – the heist is never seen, only referred to, and much of the film takes place in one location.

By the time he was handed Tarantino’s script, Tony Scott was already a blockbuster director, arguably more commercially successful than his older brother Ridley. While Ridley had scored critical successes with Alien and Blade Runner, Scott had directed Top Gun, Beverly Hills Cop II and Days Of Thunder. His collaborations with super-producers Don Simpson and Jerry Bruckheimer say more about his directing style than anything else.

True Romance then, becomes the lost Tarantino picture. His trademark dialogue is evident throughout the film – all pop-culture references and cooler than cool soundbites – but Scott’s input muddies the water somewhat. The cinematographers that Scott worked with throughout his ‘80s and ‘90s films had a very peculiar style. Lots of obtrusive close-ups, too many filtered interiors, and a very synthetic, staged camera set-up. By the time you get to something like 1996’s The Fan, the cinematography is so overbearing that the film is practically unwatchable.

Looking back, True Romance has one of the greatest ensemble casts of all time, featuring several actors who would go onto bigger things. Joining leads Christian Slater and Patricia Arquette were Michael Rapaport, Bronson Pinchot, Dennis Hopper, Val Kilmer, Gary Oldman, Christopher Walken, Brad Pitt, Chris Penn, Tom Sizemore, Samuel L. Jackson and a pre-Sopranos James Gandolfini.

RITA#608aThe soundtrack also differs from most Tarantino films in that it has both a pop soundtrack and an original score, by Hans Zimmer (the only soundtrack of Tarantino’s to mix pop songs with an original score is The Hateful Eight). Zimmer’s score is delightful – practically a proto-Thomas Newman score before he rewrote the rulebook on esoteric, oddball soundtracks with 1996’s American Beauty.

Some of the pop songs wouldn’t be out of place on a Tarantino soundtrack. Charlie Sexton’s Graceland, Robert Palmer’s (Love Is) The Tender Trap and Chris Isaak’s Two Hearts feel like they belong in QT’s record collection, but mediocre tracks like Charles & Eddie’s Wounded Bird and John Waite’s In Dreams reminds you that this really is just a typical run of the mill blockbuster soundtrack, and wasn’t curated in any way by Tarantino. Even Soundgarden’s Outshined sounds a little too obvious. The absence of Aerosmith’s The Other Side – presumably due to rights reasons – is personally disappointing, but it would have just dated the soundtrack even more.

Hit: Outshined – Soundgarden

Hidden Gem: Graceland – Charlie Sexton