Those that know me outside this blog know I have some experience behind a drum kit.  Mixing that with an enjoyment of classic film I thought I would take a look at how rock and roll is portrayed in film.  I was going to pick my favourite films of rock and roll yet that leans to musical bias  I will exclude the documentary/ concert films plus works inspired by albums such as THE WALL.  Instead, what I consider a good story told against a rock and roll background.  

Rock and roll has been a key ingredient since Bill Halley first told us to ‘Swing dance’ the 1955 film ROCK AROUND THE CLOCK.  Films of this style along with the “beach” movies of Frankie Avalon and Annette Funicello   gave the kids what they wanted to see.  The movies, which were sometimes “B” pictures, were often the first and sometimes only time people would see these performers.  Plus they packed the theatres, sending the kids to record shops afterward to buy 45 rpms and later LPs.   You wrote some sort of a story, blended in songs just like a musical and you had the new youth market.

The other side of these pictures is that they cross into exploitation film with the story of the juvenile delinquent. This was sometimes a leather jacketed, motor cycle riding girl or guy who can play a guitar. Film genres with titles like HIGH SCHOOL CAESAR, HOT ROD GIRLS, and the films of Mamie Van Doran changing into the motorcycle films of Peter Fonda, early John Cassavetes ,  and Bruce Dern.  The end comes with EASY RIDER (1969) and the advent of ALMOST FAMOUS (2000).

The usual choice is THIS IS SPINAL TAPE (1984) by Rob Reiner in a mockumentary style which lends itself to authenticity and fun.  While it is a strong film in that it has appeal (it gives us a slice of the absurdity of rock and roll), it doesn’t give us a sense of danger and consequence of actions.

There is a price for everything. The dark horse choice for this style is SID AND NANCY  (1986).

This picture was made in 1986 by Alex Cox with two unknown actors and true events that played out in the media at that time. The result is an experience that leaves a taste of metallic bitterness in your eyes.    It features   tour de force acting performances by Gary Oldman  ( chemically altered, perhaps?) and  Chloe Webb as the doomed lovers Sid Vicious and Nancy Spungen.  People will say that their mannerisms were excessive yet so is dangerous rock and roll music that teeters on the edge of violence, illicit behaviour and change. It pisses off people; including your parents because you want something of your own.

Cox uses startling images of faraway expressions as Sid and Nancy watch their dreams of stardom unravel in the reality of no acceptance.  The best and most telling is the long slow motion kiss in the alley way as the trash falls slowly downward. These people are ‘garbage’ to everyone except one another.

Characters grapple with delusional fame in a pitiful attempt to gain acceptance and show that they are worth something.  Rock and roll music is the background to all this with its deals, eccentric ways of doing business and general sanctioned lawlessness.

The film also features a version of the Frank Sinatra tune “MY WAY” which the real Sid Vicious did record and release.  Brilliant choice of song since its selection bridges a gap between the old and the new. It is also a statement of individuality.  Oldman turns a pistol on the audience in a chilling moment that was edited out of some prints.  He also points it directly to the camera very much in homage perhaps accidently to the sequence in the ground breaking western THE GREAT TRAIN ROBBERY (1903)   One moment in both of these pictures the audience becomes part of the story; an essential ingredient in SID AND NANCY.  The audience, its reactions, events, its moods are all part of the experience of a show.

I admit I see the characters of SID AND NANCY similar to the end of THE MISFITS when Clark Gable and Marilyn Munroe drive off in the truck looking at the stars with wistful expressions.  Sid and Nancy and Gable and Munroe were both doomed although we did not know it yet.

Other pictures of this style I enjoyed were Richard Lester’s HARD DAYS NIGHT ( (1964), CONTROL  (2007) Directed by Anton Corbijn,  Oliver Stone’s THE DOORS (1991) and Franc Roddam’s  QUADROPHENIA (1979) and Claude Whatam’s THAT’LL BE THE DAY (1973). However for sheer fun, Steven Herrick’s ROCK STAR  (2001) with Mark Wahlberg as an excellent ‘everyman’ who gets to live the dream.

Music is a part of all these pictures.  Yet, it is the stories that they tell either of an era or a dream that makes them ‘not just’ musicals.   Rock music today has splintered into groups of fans and many different genres similar to today’s film world.  The no win debate between those who want films of a more violent nature to people that oppose violence.  Music, film and now television tread a path toward occasional seismic change since that is what keeps it vital.



Let it be known that movie serials from Poverty Row studios and some major studios are a pleasure of mine. This section of Classic Hollywood seems to get left out of most film festivals and retrospectives; yet they are rollicking examples of film making on a budget . Many actors, technicians, and directors made careers in this end of the business only to have their names and work lost or ridiculed by ‘serious’ film.

Lambert Hillyer, who helmed the BATMAN (1943) serial, had 166 credits to his name in a career that spanned 1917 to 1956, and included episodes of the TV series HIGHWAY PATROL.  A Warner Brothers work horse director with a huge body of work was Forde Beebe.


Taking a scan of Beebe’s credits provides a look at a one person industry of movie making.  Many of the films list Beebe as not only director, but also writerBeebe was versatile in that not only are there Serials listed and everything that goes into long productions of 16- 22 minute segments to be co- ordinated but also feature films starring such names  John Wayne and Tom Neal.

No doubt these people worked with smaller budgets, ‘B’ crews and actors, ‘B’ writers, and little setup on a relentless shooting schedule.  This area of Hollywood is regarded by some as lower class productions.  Yet for me if you can get past some derivative plots in various settings like outer space or the old West you have fine escapist entertainment.   Many of today’s film makers who pound us with CGI explosions, swerving car chases, and hand held gun fights are trying to give a ‘French New wave’ sense of immediacy to a situation we have all seen before.

Movie serials were a money maker for the studio and theatre chains at that time as you had people hooked on the cliff hanger ending coming back each week to your establishment to see the next chapter.  Some were around sixteen chapters.  That’s four months of visits plus the studios had not yet figured out you could charge huge amounts of money for food. Imagine today if you had people going the theatre once a week for four months; you could finance that blockbuster in no time or better still pay for the bomb quickly.

The movie serial at was also a training ground or (dumping ground depending on your point of view) for directors, actors, and crew.  If you had a reputation for delivering product on time in the cost conscious studios of yesterday you were rewarded with bigger budgets, better scripts, and stars.

Since you had an actor under contract you could put him or her into one of these productions to keep them working or as discipline for some deed they did. Lon Chaney Jr is one example as he moved from various film serials to occasional lead man status in horror films such as  THE WOLFMAN (1941), and to brilliant supporting roles in HIGH NOON (1952) with Garry Cooper and OF MICE AND MEN (1939).  RIDERS OF DEATH VALLEY with featured Dick Foran who was another example of someone who moved back and forth from this style of productions to bigger ones like THE PETRIFIED FOREST (1936).

You may have plot holes and strange situations in some pictures, yes.   The Tom Mix serial THE MIRACLE RIDER features cowboys, horses and motorcar chases all to cover up the mining of a powerful explosive found on Indian land by evil men bend on world domination.  Sixteen weeks of steam punk fun all made in 1935. The mystery is the lack of respect shown this vital film foundation.

The studios that did films such as REPUBLIC PICTURES, MONOGRAM STUDIO etc ., were not located in the best parts of town; nor did they have the best facilities or pay the top money but they filled  a need.  UNIVERSAL, COLUMBIA and others also got into the production of these films. We have festivals and retrospectives for many styles of motion pictures today: I think it would be interesting to these included, letting those that perhaps forgotten get some brief applause.  A few of today’s film makers could take lessons on how to provide robust entertainment with longevity on budget similar to Roger Corman and a few others.  Long Live this style of film making.