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Privilege (BFI Flipside) (DVD + Blu-ray)
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BFI Flipside presents
PRIVILEGE (DVD + Blu-ray)
A film by Peter Watkins
THE FLIPSIDE : rescuing weird and wonderful British films from obscurity and presenting them in new high-quality editions.
Paul Jones (Manfred Mann) plays Steven Shorter, the biggest pop star of his day, whose endorsement influences the actions of the masses. In reality, though, he is a puppet whose popularity is carefully managed by government-backed handlers keen to keep the country's youth under control. Also starring sixties supermodel Jean Shrimpton, Privilege is available in the UK for the first time since its original release.
- Presented in both High Definition and Standard Definition
- Original Privilege trailer
- The Diary of an Unknown Soldier (Peter Watkins, 1959, 17 mins): a WW1 soldier shares his innermost feelings as he prepares for combat
- The Forgotten Faces (Peter Watkins, 1961, 19 mins): a gripping newsreel-style account of the 1956 peoples uprising in Hungary
- Illustrated booklet with new essays by film historian Robert Murphy and Watkins specialist John Cook
UK | 1967 | colour | English language, with optional English hard-of-hearing subtitles | 103 minutes | Original aspect ratio 1.85:1
Disc 1: BD50 | 1080p | 24fps | PCM mono audio (48k/24-bit)
Disc 2: DVD9 | PAL | Dolby Digital mono audio (320kbps)
About the Director
Steve Shorter, the biggest pop star of his day, is loved by millions; his approval or endorsement can guide the choices and actions of the masses. But, in reality, he is a puppet whose popularity is carefully managed by government-backed handlers keen to keep the country's youth under control. Only an act of complete rebellion can set him free.
Starring Manfred Mann lead singer Paul Jones as Shorter, and iconic Sixties supermodel Jean Shrimpton as the girl who tries to help him defy the system, Privilege is the third feature from provocative British director Peter Watkins, a filmmaker who's unique vérité-style and oppositional themes have continually met with controversy throughout his career. Remastered in high-definition and made available in the UK for the first time since its original cinema release, Privilege is presented here with two of Watkins' earliest film works.
- All films remastered to High Definition
- Original Privilege trailer
- The Diary of an Unknown Soldier (Peter Watkins, 1969, 17 mins )
- The Forgotten Faces (Peter Watkins, 1961, 17 mins )
- Extensive illustrated booklet with essays by Peter Watkins, film historian Robert Murphy, and Watkins specialist John Cook.
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Obviously one could point to Nineteen Eighty-Four as the reference enriched somewhat by Beatlemania and similar phenomena but it's not seminal. UK Sci-Fi had a long history of envisioning such dystopian futures including but not limited to Bob Shaw and John Wyndham from the 1950s and early 60s. The original episodes of Dr Who carried the darkness of the period, other more mainstream material from BBC drama and elsewhere form the early sixties had trodden the ground.
The only joy is Jean Shrimpton looking totally stunning
Be aware that the BFI have changed the cover to this release, and so the version now supplied doesn't have the standard Flipside branding or numbering. It simply doesn't match the other releases, so if you are after completion to a set it stands out. It won't bother everyone but thought it worth highlighting as Amazon still have those cover displayed, I have advised them but I image it takes time to check and alter, if they deem it worthwhile
This was clearly edited for the american market and american's wouldn't have had a clue about what the film was about anyway, and without the music, it makes no sense at allPrivilege (DVD + Blu-ray)
The formerly preposterously rare (two extant prints in the universe) 1967 film "Privilege" has just been digitally restored in its original color and will be offered for sale by Amazon et al in a month or so.
This matters for several reasons. Firstly, because the film was as prescient as many consider Nostradamus to have been. Its plot, considered so far-fetched at the time that the film was oft labeled science fiction, centers around an increasingly totalitarian government in a first world country that attempts social engineering at all levels, including utilization of pop culture. It's hit on the formula to control youthful rebellion and dissent in general by investing a young pop idol with state-sponsored power (more in a minute) as centerpiece of national obsession. EVERYONE cares about this particular pop idol and what happens to him every week, since his act has been designed to attract universal sympathy and diffuse caring about one's self and one's own troubles. I'll not reveal how because the strange design of the first tour of his that viewers see is a revelation within itself.
What he says, what products he endorses, and how he steers the populace into state-sponsored trends and philosophies is a fait accompli in the film. The government notes a surplus of apple crops, idol Steven is immediately shown eating lots of apples, as now will the general populace. Got religion? Steven now does, and you will too. It always works. You buy what he wears, what he endorses. But what sort of personality would go along with being such a figurehead? And what sort of actor could even pull this messianic stardom off realistically, since the film is made in documentary style?
Luckily, the answers are pretty good. The plot centers on the gradual breakdown of this personality, as no one but an insane megalomaniac could keep this up forever, his world of his every action micro-managed by others and every "creative" output predetermined for him. (Not like....now in 2008!) This person hired to quell all rebellion eventually starts to rebel against the state-sponsored "love." And the actor hired to be both this convincing a pop star and soul tormented practically to torpor was an actual rockgod, Paul Jones, the tall, good-looking blond singer of the Manfred Mann group of the mid-60's, if you recall the hearty voice on classic Brit oldies "Do Wah Diddy Diddy" and "Pretty Flamingo."
"Privilege"'s director Peter Watkins, known for terrifying all of Britain with the first realistic, ultra-violent post nuclear apocalypse film "The War Game," knew how important casting is, despite trade-offs. Paul Jones was of the minute modern, and could convey this fantastical idea of Orwellian government control through a pop star by being a credible pop star known at the time. His co-star, 1960's icon Jean Shrimpton playing the instigation of the star's rebellion, was the most beautiful and famous model ever, at that particular moment in history. The trade-off was you believed them in their roles, even if you didn't believe them as trained actors.
It's not so much that they can't act, more that both leads were directed to be underplayed a la Garbo: you put your own reflections of the proceedings on their visages, in contrast to the freneticism of Steven's fans and the steely controlling of his handlers. Suffice it to say, their roles and performances well hold up today: they are who they play, and they look perfect.
Jones is actually a compelling performer and great vocalist, singing real (as opposed to "movie") rock songs in this film. Pretty good rock songs too: one was covered 25 years later by Patti Smith and Paula Pierce and The Pandoras, which then sounded as modern as ever. Punk legends Chainsaw based their one ballad on the opening concert scene of "Privilege."
And Shrimpton!* Even with purportedly wooden acting, she remains a focus you can't take your eyes off of. You instantly understand her visual domination of the first half of the 1960's and her incontrovertible allure.
In fact it all holds up pretty well today, and the film appears far more tellingly intelligent than it did when it was released and reviled enough to force its director to move abroad. It's been a lost cult classic ever since 1967, and, with the recent release of Brian Wilson's lost "Smile" album, finally completes gaps in the best of pop culture from the 1960's, ironically so with its very indictment of pop culture manipulation gone totalitarian. "Privilege" feels more real and works better today in 2008 than when it was released forty one years ago. Check this treasure out!
*Her photographer mentor/lover David Bailey and she were heroes to my generation, for being their own personas and successes to boot: the "one of ours" syndrome. A wrongly ascribed shyness was assigned to this, her one acting role. In front of the still camera she was as extrovert as you can get, confident, dazzling and compelling. I'm a still photographer, and I know what it takes for model to project: something from within beyond the interaction of mere direction.
She was ultra-successful, but not well remunerated, as the book "Model" which explored the various decades of the profession pointed out (only models after the mid-70's became millionaires as the business changed along with the agencies and licensing practices.) She even verifies this, without bitterness. Folks question why she retired seemingly off the face of the earth (Cornwall, actually.)
Lastly, people who were successful in their aspirations but not necessarily in finances offtimes think in terms you might not suspect: I've done it all firsthand, I was at the center of the hurricane's eye, I don't need to continue immersing myself in this business anymore and pretend to go along with the changes in fads; I can happily go away and be at peace. This just makes heroes like Shrimpton, (and little known photographers like me) artists, not artiste manques.
It's a pity the soundtrack is not easily available on CD, the music is great.
Paul Jones was obviously better at singing/songwriting and performing at this stage than he was at acting, and Jean Shrimpton was not really an actor at all, but both are effective in this film. It's very 60's, although set in some future year after the film was made. Its themes have become somewhat prophetic over the years, as we look at society allowing itself to be brainwashed by government, church, advertisers etc, with the culture of celebrity worship being their tool to work with.
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