A multi prism with a few major flaws; a bus window depiction of 1970's New York, that has long since disappeared under regenerated affluence. This documents a time before the huge inner city cash injection, lit up the moderne boredom with a million halogen lamps, hanging limply in designer pads. It has a guest appearance by the King of Ennui, Andy Warhol, who appears as a sage in his latter years.
Richard Hell and his girl, a Bond starlet, are stuck in a film trailer, trying to punsh their way out. This higlights his band, and his poor acting ability, dressed up with a complete lack of punk credentials. There is nothing that would distinguish this from from any other rock flick. It does however captures the angst of his personal performance, as he plays bass and sings with Quine, wrenching the guitar at CBGB's, but unfortunately the rest of the film lacks any creative tension and any understanding. It falls flat as a document of the era, lacking the inner view. Instead it is a projection onto an era and fails to capture the internal visceral anger.
It gains points as a historical document of a time that has long since passed. It does transport you somewhere else, but not to the zeit of an era, it allows you to become a tourist on a bus in New York. This is an airbrushed version of the real world. The real scene was beyond this form of law.
"Blank Generation," rendered by Richard, is actually a take from the "Beat Generation," and Hell's band lacked the haymaker punch of UK punk rock, with its meandering. Live this kicks the album version as he harnesses his manic energy.
The film is saved by his live performances.
This is faraway the best thing about this piece. So if you want to travel back as a tourist to New York and see Richard Hell live, then this is your bag. If you want to see a film about action and events with a plot with meaning, then look elsewhere.