Tag Archives: Sid and Nancy

Director Series: Alex Cox

Tombstone Rashomon (2017)

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We’re always experiencing history now. Few grasp this concept like Alex Cox, who frequently eschews the traditional idea of “historical accuracy” in favor of something we might pretentiously refer to as historical truth. In 1986’s Sid and Nancy, a bunch of kids meet the title character just outside New York City, and when they hear his name — “Sid Vicious” — they immediately scatter. That never happened in real life, but the metaphorical depiction of Sid’s living legend trumps the facts because it actually tells the real story more effectively in film. The more all-encompassing example is 1987’s Walker, Cox’s searing indictment of America’s quasi-colonialist mindset toward Nicaragua. Walker, set in 1853, is full of intentional anachronisms in the form of modern items — helicopters, automatic rifles, Newsweek — that weren’t around at the time. If you presume this device might take you out of the action of 1853, you’re exactly right — and it more or less plants you in Nicaragua in the 1980s, where much the same U.S. meddling would spur the Contra War for more than a decade.

Tombstone Rashomon, Cox’s latest, is in many ways a logical extension of this view of history as inextricable from the present. The title somewhat bluntly particularizes the story at hand: this is the tale of the famous Gunfight at the O.K. Corral in Tombstone, Arizona, told in the kaleidoscopic style of Akira Kurosawa’s seminal Rashomon. The tale of this shootout — dubbed on its exhaustively-detailed Wikipedia page as “the most famous shootout in the history of the American Wild West” — has been told in film a hundred different ways already, most notably in John Ford’s My Darling Clementine (1946), John Sturges’s Gunfight at the O.K. Corral (1957), and George Cosmatos’s Tombstone (1993). All of these technically depict the same event, but the varying degrees of accuracy and divergence speaks to Cox’s point: short of being present in Tombstone at about 3:00 p.m. on October 26, 1881, the vast majority of what we “know” about this event comes from its depiction in popular culture.

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NYFF

Miles Ahead (2015)

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The 53rd New York Film Festival came to a close Saturday night with the world premiere of Miles Ahead, Don Cheadle’s longtime passion project about the late great Miles Davis. An actor of Cheadle’s caliber attached so fully to a single film might be a rarity, and in this case it’s the lead role, the directing, and the writing that all fall in the man’s wheelhouse…and he co-produced and wrote original music for the film. And he was in Avengers: Age of Ultron just a few months back.

Interestingly, the similarities between the vigilante War Machine and the musician Miles Davis make it evident what Cheadle saw in both charac…just kidding. Miles Ahead is the best thing Cheadle’s done since Hotel Rwanda, or at the very least the most substantial role since then, and thus an overdue reminder that Cheadle is a fantastically likable leading man. He’s likable even when he’s playing Davis at his lowest point, a five-year creative drought fueled by cocaine and loneliness that makes up the majority of Miles Ahead, and through all the stubbornness and figurative horn-tooting (sorry) Cheadle still conveys the fact that Davis was overflowing with passion for his art. It’s fitting that the actor, who took eight years to craft Miles, matches the musician in passion for his own art.

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TV Review

The Leftovers 1.4 – “B.J. and the A.C.”

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Right down to the title of the show, The Leftovers isn’t necessarily one for subtlety. Any time something isn’t where it’s supposed to be, a parallel is drawn to the mysterious Departure that inexplicably claimed 2% of the world’s population. This is Drama, capital D, and these people have Problems, capital P, and sitting down to an hour of cap-D plus cap-P — especially “B.J. and the A.C.” — can end up being too much CAPS LOCK to handle if you’re not ready for it. But on one level The Leftovers sacrifices subtlety intentionally, I think, allowing for clarity instead. Supreme clarity, in fact, and one that should make nearly every other show on television envious.

Take the opening Breaking Bad-esque montage of “B.J. and the A.C.”:

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Director Series: Alex Cox

Sid and Nancy (1986)

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There’s a whole lot of Sid and Nancy that’s impossibly dark and depressing. The Sex Pistols bassist and his volatile girlfriend were not ones to live slow and boring, preferring hard drugs and long nights and loud music. The love was intense and it was brief, flaring exponentially like one of those dying superstars, forced to quit after burning too bright for too many hours. The end isn’t pretty, and it’s the only end that such a relationship could come to.

Alex Cox made Sid and Nancy almost immediately after his debut feature Repo Man, but there’s a clear jump in maturity from one film to the next. Sure, actors like Gary Oldman and Chloe Webb help; Webb is unfathomably childish, as the character should be, and Oldman is just amazing as the pencil-thin Sid Vicious. But Cox is the real star here, as he manages to make an extremely affecting portrait of two lovers out of the all-too-recent shards of their former lives.

The Sex Pistols disbanded after their US tour, leaving Sid and Nancy to fend for themselves and scrape by on Sid’s solo act. They are both extremely unhealthy, both in body and in mind, and the drugs they love begin to take hold of their affairs more and more. They stay in their room more and more, until the final scenes which are set entirely in the bedroom. Neither Sid nor Nancy seem able to leave that room, and it’s Nancy who never does. Her death – though surrounded by mystery in the actual news media – is an accident at the hands of strung-out Sid himself. Nancy’s life in the film up until this point is pathetic and difficult to watch, but her pitiful fate is quite nearly sickening.

Somehow, though, despite long stretches of despair and horrific moments like the death of Nancy, Sid and Nancy captures something else that the punk movement managed to as well. The Sex Pistols and their fans are hard-living, hard-drinking, leather-jacketed hoodlums who swear at their grandmothers and kick people in the face at their shows with boots on – but they have a good-natured humor about them at times, rolling around in the rain and parading down the street in their underwear. Alex Cox nails this humor, and amidst the deep dark of the majority of the film an important light peeks through again and again.

A smash cut of Sid walking into one pub and suddenly staggering out of another is a great example, as it gives a snapshot of his life in a half-second switch of the camera. Another sequence later shows Sid onstage singing to a crowd of well-dressed elderly white people who seem to love the metal-clad Sid Vicious – until he pulls out a pistol and murders everyone in the auditorium. Is this a dream? Is this some kind of vision Sid has of himself or of his place in society, a la Bronson or Sex & Drugs & Rock & Roll? Whatever it is, it’s gleeful and jarring alongside the bedridden scenes that make up most of Sid and Nancy.

The best of these moments both come in New York City. The first is when Sid and Nancy happen across a kid being bullied and Sid tells the bullies off. “Who the hell do you think you are?” they sneer. “Sid Vicious,” Sid says, and the kids immediately scatter as if the name belonged to a Clint Eastwood drifter of the Old West. The second comes at the very end, when Sid walks past three kids dancing to hip hop. They tell him to dance with them, he says he ain’t gonna dance around with no kids – but he does. Nancy is passed but he hasn’t forgotten her, as if he ever could, and somehow all of this boils down to Sid Vicious dancing with a few kids in the middle of nowhere. This is the spirit that Cox injects into the bleakness of Sid and Nancy, and it’s what makes the film so effective in the end.

Director Series: Alex Cox

Repo Man (1984)

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It’s no small miracle that Alex Cox’s Repo Man is even on anyone’s radar today, nevermind the fact that the weird little movie effectively jumpstarted the director’s entire career. It’s very possible that Repo Man could have slipped into obscurity and dragged Cox into the abyss along with it. There would be no late-night cult showings and, more shockingly, there would be no Alex Cox Director Series to presently grace your computer screen. Civilization would crumble beneath our feet and the decimated dregs of humanity would soon resort to cannibalism.

So be thankful that we have the junky, punky Los Angeles peopled by Emilio Estevez’s rookie repossessor Otto and Harry Dean Stanton’s Obi-Wan-esque speed addict Bud. The world of Repo Man is still freshly original, even today, still hilariously unique — a world where the beer is labeled BEER and the food FOOD, where repo agents are just car thieves that make a point of wearing seatbelts. Otto’s journey is one that goes round and round in circles, and the only semblance of plot in the film stems from a ’64 Chevy Malibu with some really hot contents in the trunk.

As noted by Roger Ebert in his original review, Repo Man follows none of the rules – there are simply no other movies about punk repo kids and radioactive aliens in Los Angeles. Detectives and secret agents pulled in for one last mission? Got ’em. Unlikely squirts finding the courage to overcome bully corporations? Yep. Repo Man, on the other hand, is damn near impossible to categorize. “It happens sometimes,” notes an investigator about a smoking bubbling puddle that used to be an upright policeman. “People just explode.” If these are the rules that Repo Man plays by, then the rules don’t matter much.

Cox was twenty-nine years old when he filmed Repo Man. He had a much larger budget than he’d originally envisioned and full control over the casting of the film, thanks to a measure of faith by Hollywood studio executives that seems outlandish today. It opened quietly and was pulled from theaters after a weeklong run. The soundtrack, though, chock full of “new” American punk, made a smallish comeback in the following months, prompting an eventual rerelease of Repo Man at a theater in New York City. From there, the film grew to the cult status it enjoys today.

And this still means that Repo Man has not had nearly the effect it should have — it could have — on modern cinema. Again, Cox’s career took off in a good direction as Repo Man gained traction — he went on to get the directing gig for Sid and Nancy in 1986, a movie which was well-received, followed by Walker with Ed Harris in 1987. Our Director Series takes proper looks at those later efforts, but suffice it to say that they’re quite different from this debut. Repo Man is important because it taps into and depicts a subculture so perfectly well. The pacing is so inviting and the tone so uncondescending as to bring nearly anyone along for the ride, in spite of the weirdo silliness unfolding before your eyes.

Simply put: we should have more movies like Repo Man. That silliness becomes a battle cry, becomes the entire world of the film, becomes something that challenges us to accept it rather than pining for our approval with tired gimmicks or recognizable characters. Once we accept the challenge we’re essentially in the car with the doors locked, doing 60 down the L.A. River. It helps that Repo Man is insanely quotable and that the running gags are so beautifully timed. What we might expect to be a sex scene is put on hold when Otto sits up straight in bed and says, politely: “Excuse me while I fold my pants.” Which he does.

So, in honor of Repo Man, one of the leanest and meanest and most straight-up fun director debuts in modern cinema: Let’s go get sushi and not pay!