I’d heard of Performance from a couple of different angles. I knew Jagger’s Memo From Turner came out of this movie, and I knew a couple of samples nicked by Big Audio Dynamite for the song E=MC2, which is itself an odd musical tribute to Roeg’s work.
The film is both a continuation of the gangster dramas that had been coming out since the 30s and an influence on movies that came later including In Brugges and Lock, Stock, and Two Smoking Barrels.
The plot has a fairly straightlaced gangster, Chas, going to ground after he kills his boss’ new protégé without authorisation. There’s an interesting subtext going on that his boss and those higher up in the organisation are middle-aged queens while Chas is not only straightlaced, but decidedly straight. Through a turn of luck, Chas overhears of a room in Notting Hill Gate from a musician going on tour who has left his gear and some unpaid rent. Chas shows up at the address and pays off the debt in return for the room. Visiting Notting Hill in the late 60s is quite odd, because the lower-class neighbourhood of that era is full of million quid houses now. Those self same houses.
Mick Jagger plays the house’s owner, retired rock star Turner. In the course of Chas’ stay in the house with Turner and his two lovers, Pherber, played by Keith Richards’ girfriend at the time, Anita Pallenberg (RIP), and Lucy, he discovers a situation that is decidedly Bohemian and sexually open. In order to get into his head, Pherber and Turner dose Chas with mushrooms and from there the movie takes a distinctly psychedelic turn.
Another place I heard of this movie was in conversation with Coil’s Jhonn Balance. I was lucky enough to chat with him after Coil played in Prague in 2002. My friend Chris asked him what the source of the sample ‘We must go further back. Further back and faster’ was from. (The track Further Back and Faster is on the 1991 album Love’s Secret Domain.) Balance referenced this movie and talked about Roeg for a little bit before we moved on to talking about Derek Jarman movies. So this film has been at the back of my mind for over 15 years. Queerness and queer identity were very much at the heart of Coil’s musical identity and the queerness of those who have authority over Chas is not a lost plot point. Chas holds enough fascination for Turner that he feels the need to defend himself from what are fairly subliminal advances on Turner’s part.
The fascination for Balance in this movie possibly included what was essentially a music video inserted in the midst of Chas’s mushroom trip. When Jagger lip syncs Memo From Turner in the offices of the gangsters Chas reports to, it’s not clear who’s experiencing what, but it’s interesting that when the movie was made, the queerness of both the song and the action in this sequence is quite matter of fact. That Chas rejects unspoken advances, as well, is (I think) meant to be interpreted as a shortcoming on his part.
This was not without controversy at the time. The studio refused to release the movie for two years due to graphic sex and violence. My first thought on reading about that was that I’d love to know what the Memo from Warners actually pointed to as problematic. By more recent standards, a few killings and a little sex are considered PG-13 fare by the MPAA, but there are two graphic scenes of gangland violence that were probably more shocking then than they’d be considered now. And unfraught sexuality between two women was also quite shocking. Imagine my surprise to find the image accompanying this review. Initially it was either given the X rating or the studio simply assigned the film an X rating. (Note: All of the other MPAA ratings are trademarked. Only the X rating can be used without MPAA authorisation. I think the idea was that the MPAA didn’t actually want to assign ratings to porno. Porn studios could take the rating and the limited release associated with it. On the other hand, in the early days of the ratings system, movies like Midnight Cowboy and Bilitis which had non-pornographic inclinations could take the rating and the artistic freedom that came with it.)
Regular readers might take my opinion of Chas’ response to Turner’s interest as hypocritical. Didn’t I just recently write that the correct response to the possibility of homosexuality in an interaction should be ‘not a problem’? What’s the difference here? The storytellers of Ready Player One were positing that the homosexual angle was to be avoided where presented. In Performance, however, the storytellers suggest that Chas’ rejection of the possibility is part and parcel of Chas’ rejection of life as a whole.
The ending of the film confused me and the friends with whom I saw the movie. It wraps up rather quickly with the viewer being not quite sure who lives and who dies (despite the writers at Wikipedia seeming very certain of themselves). That said, the movie’s seedy opulence, spot on performances from all concerned, and excellent soundtrack earn this goody four stars.
Joe Jots 