PERFORMANCE
(1970)
(2007 Bluray version)
Chronologically, 1970 sat right on the cusp not just between
two decades but straddled two different eras in feel and outlook. There was the
experimental counter-culture late ‘60s where a new generation of Swinging
London began segueing into trying mind-altering natural and chemical
substances, influencing not just their minds but their music and other arts.
The early ‘70s saw British and Hollywood cinema reflecting a more cynical,
bitter edge in urban crime films like GET CARTER and VILLAIN. In 1970, a unique
film was released that actually combined the two influences into essentially a
psychedelic gangster film and that is part of its deserved special place in the
blog. We are talking about the brilliant PERFORMANCE.
This film was the brain-child of two visionary directors: Donald
Cammell and Nicholas Roeg. Cammell had
spent a lot of time on the left bank of Paris in the ‘60s and was exceptionally
well-read. His artistic influences on the film include all the literary
references to Artaud, Camus and especially Borges. Nic Roeg was the stunningly
original cinematographer turned director with an eye for original visuals and
colours. They created a very harmonious partnership, each focusing on the
actors and the look of the film respectively. Warner Brothers financed the film
with producer Sanford Lieberson (also Cammell’s agent) becoming a vital third
wheel in the project. Another influence was David Litvinoff, credited as
dialogue coach, who had rubbed shoulders with the seamier side of London
night-life and added verisimilitude to the criminal underworld element. Part of
the influence on Mick Jagger to do the film was Litvinoff who had been
allegedly a former lover of Ronnie Kray and was one of many of the Stones’s
entourage to be both gay, psychotically violent and part of the crime
underworld. Small wonder that these creative and background influences caused
Jagger to give the fastest ‘Yes’ response to the film offer of any in his
career so far.
The plot of PERFORMANCE on the surface could be summed up
fairly simply. An East End gangster, Chas, tangles with the business dealings
of an old criminal friend Maddocks that he’s suggested to have had a bisexual
relationship with in the past. The power struggle ends with Chaz killing
Maddocks and needing to go on the run without protection - since his boss Harry
Flowers had forbidden Chas to get involved with Maddocks’ operations. Knowing
his life is now in danger, Chas overhears in a café that a room is going free,
and with the contact information hides out in the decadent city home of retired
rock star Turner (Jagger) and his two female friends. Here, he undergoes mental
and physical perceptual challenges through the temptations of these bohemian
types, until the ambiguous ending where he or possibly Turner may have given
himself up to his former gangland people.
There are many elements that bend the mind and this
straight-forward sounding story right from the start. The casting alone was
innovative and played with audiences’ expectations up-front. No-one would ever
have conceived of upper middle-class James ‘THE SERVANT’ Fox playing the
violent, intimidating working-class thug Chas. This after all is a vicious blue-collar
shagger, intimidator and all round low-life who loves the brutality and trashy
trappings of his life. However, after two to three months of method research
living in South London and accent help from real East Ender Johnny Shannon
(rewarded by being cast as Harry Flowers – terrific for a non-actor), Fox
emerged with the accent, the attitude and a toned physique honed from boxing
training. It’s a transformational portrayal every bit as impressive as De
Niro’s preparation for RAGING BULL – and also of suave Ben Kingsley’s equally
career-enhancing gangster turn as the foul-mouthed Don Logan in SEXY BEAST.
Unfortunately for Fox, the identity-challenging role of Chas
came at a point where he was already mentally fragile from the recent death of
his father and his involvement in the seamier side of showbiz life. Whilst
immersing oneself in a complex role utterly different to one’s life can be of
help in dark times, it seems the psychedelic role-playing of the Powis Square
house scenes pushed Fox over the edge. He subsequently left the profession for
nine years and immersed himself in a religious group called the Navigators.
More accustomed to the bombardment of Cammell’s artsy and trippy
world was Mick Jagger, who had never acted before and fit like a glove into the
part of Turner. Who better to essay the role of a famous decadent rock star
enjoying the wealth and luxury of time to indulge psychotropic substances and
languid philosophising? Actually, Mick was understandably nervous in his first
movie acting role, so Lieberson arranged to shoot an isolated sequence of him
alone to ease him gradually into the unfamiliar technical world of film-making.
This is the spray-painting scene which I’ll discuss later. Jagger needn’t have
worried. He almost doesn’t seem to be acting as Turner; his performance is so
spontaneous and seemingly art-’less’ that it’s easy to think the directors simply
recorded him doing whatever he felt like. He is at his most beguilingly
androgynous with his long hair, sensuous lips and coquettish manner. Turner seduces
and evades like Tim Curry’s Frank N Furter in ROCKY HORROR, quoting Borges and
Burroughs: “Everything is permitted”;
lounging on his bed, filming randomly on his 8mm camera – a living
existentialist. Aparently, Mick based Turner not so much on himself but
channelling the intoxicating combination of bandmates Brian Jones and Keith
Richards for the seductiveness and devilment in turn. If the part had been
played by anyone not from the rock music world, it might have been a satirical
send-up - this would have damaged the hypnotic alternate reality the housemates
embody. Mick inhabits that world credibly, crucial to Chas willingly permitting
the ‘everything’ to be done to his self-image.
A stand-out scene of Mick in particular is the ‘Memo to
Turner’ pop video, for it became the first one ever shot, making stylish use of
lighting by Roeg and an oddly striking gelled-hair gangster look for Jagger
that’s almost unrecognisable. It also neatly allows us to see the thread
emerging of the strange shape-shifting between Turner and Chas that occupies
much of the last act.
Turner’s friends are played by three interesting performers.
Laraine Wickens is their cheeky cockney child maid Lorraine. I must admit I
thought she was a boy when I saw her scenes, which in her little dresses would
somehow have still fitted this off-beat pack. Anita Pallenberg and Michele
Breton are the free-flowing other part of Turner’s menage-a-trois, eating magic
mushrooms, taking baths and penetrating Chas’s psyche with sex and psylocibin.
They are as responsible as Turner for inducing Chas to gradually morph from his
hard East End persona and the be-wigged feminine made-up image he adopts.
Pallenberg in real-life had made her own shift, segued from the domestic
violence of being with Jones to a more nourishing relationship with Richards.
Keith was filled with jealous paranoia during the filming, convinced that
Jagger might be having sex for real with his new lady. A teasing reference to
Stones’ debauchery mythology can also be seen in the Mars Bars on the door-step
delivered along with the morning milk.
There are two other ingredients that make PERFORMANCE a
hugely appealing cult hit. One is the ground-breaking editing - especially in
the opening. This was partly caused by necessity. After delivering a finished print
to Warner Brothers that Cammell, Roeg and Lieberson were happy with, the studio
demanded that the violence be toned down and that Jagger be introduced earlier.
Liberson and Roeg had to leave to go on to other projects (notably WALKABOUT
for Roeg), leaving Cammell to ask Frank Mazzola to cut a new version obeying
the notes. This he did to sensational effect, in style ironically very much
akin to Roeg’s later work. The film starts with cross-cutting between a Rolls
Royce driving along a country lane, Chas at his menacing work and also fleeting
glimpses of Turner spray-painting his intial ‘T’ on a wall at home. This was a
hint of the aforementioned solo scene of Jagger, and an innovative editing
solution that ramped forward his intro to the plot. It’s inexplicable but
tantalising nonetheless. An extra layer of disorientation on top is the
over-laying of unsettling Moog synthesizer effects. PERFORMANCE was the first
film to use this brand new music technology in experimenting with unearthly
atmospheric mood enhancement.
The other attractive aspect to the film that adds to its
cultish power is the ambiguity of the ending. Jettisoning the original script
second half that involved a more mundane drug-bust (echoing the real-life
famous Redlands one that affected the Stones), the free-wheeling descent into freak-out
image-breaking comes down to earth briefly as Chas’s gangland cohorts arrive to
escort him to execution. Chas suddenly comes to a conscious resolve and shoots
someone (who may be Breton), the bullet blasting surreally through the body to
finally shatter an image of the author Borges, a major influence on Cammell’s
own mind. We then witness what looks like a shot Turner slumped in the broom
cupboard, and repeated teasing shots from behind of what may be the rock star
and Chas’s wigged and short-haired selves walking away down the street. Flowers
smugly welcomes whom he believes to be Chas into his car. As they drive away,
we catch sight that unbeknownst to him it is Turner in Chas’s red wig that he’s
captured, looking enigmatically through the back window. His line “Time for a change” haunts us with its
trippy hint of identity-swap, merging the faces of he and his new friend.
A hotly-debated denouement is a priceless way to ensure a
film’s longevity. Not that PERFORMANCE needs it to cap a daring, exciting and
strangely compelling movie. Rap music fans might recognise the posterity of sound-bites
from the quotable dialogue (and other Roeg nods) in Big Audio Dynamite’s
similarly innovative ‘80s hit "E=MC2" – lines such as “You’re Jack the laaaad” and “You know, I don’t think I’m gonna let you
stay in the film business...”
It’s regarded by some as the greatest British gangster film
ever. I don’t know about that; GET CARTER and THE LONG GOOD FRIDAY are also
strong contenders. I certainly feel though that PERFORMANCE is the only great
one that also manages to be more. It transcends the genre to be the only
psychedelic counter-culture post 1960s classic as well. Who can beat that?
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