Genres

Visitors Review

ametaphysicalshark 2012-05-16 20:56:57

"I'll just say one word: 'Icarus'. If you get it, great. If you don't, that's fine too. But you should probably read more."

It would be unfair to dismiss "24 Hour Party People" as a biographicallook at Tony Wilson. It's so much more. It's a celebration of music, ofa lifestyle, of a bygone era. It also plays like a Greek tragedy,albeit substantially more fun, but there is no shortage of darkness andtragedy in the film. The shifts in tone are particularly remarkable, asthe film veers from its usual dry, sardonic tone into real pathos andexamination of the dark side of almost any phenomenal success.I'm not completely nuts. I'm not going to claim that "24 Hour PartyPeople" is a visual masterpiece, or a film which achieves more with itscharacters than most accepted 'masterpieces' of cinema when it comes todepth. I'm not going to argue that it feels as complete an artisticachievement as one of the better films by a cinematic 'master'. Wait,what am I talking about? That's exactly what I'm going to argue. "24Hour Party People" is as perfect as a film can get, not because itachieves the visual perfection of one of Kubrick's finer films, notbecause it marks a turning point in cinema history, but because it setsout to be exactly what it ends up being- a hilarious, darkly satiricaland yet affectionate look at one of the biggest 'scenes' in musichistory, some of the best bands, and the man behind it all, TonyWilson. A minor player in his own life story. This is one of the mostpurely enjoyable films ever made. It all unfolds with a sort of inspired madness. The very first sceneshows the charismatic, arrogant, and somewhat self-important TonyWilson hang-gliding for a television report, then turning to the cameraafter that's over with and saying "You're going to see a lot more ofthat sort of thing in the film. I don't want to say too much, don'twant to spoil it. I'll just say one word: 'Icarus'. If you get it,great. If you don't, that's fine too. But you should probably readmore." It's not only a terrific line, indicative of the sort of dry witmuch of the dialogue achieves, but also telling of what the film isgoing to be like. J.R. Jones of the Chicago Reader was one of the lessinfatuated major critics with the film (but still gave it a definitelypositive review, which should give you some indication of just howwell-received this film was by critics), and labeled Coogan's Wilson aa pedantic narrator, describing his story as having little narrativemomentum of its own. I like to think that's sort of the point, andWilson himself makes a point to mention in the film that it's not afilm about him. The highlight of the film, arguably even more than Frank CottrellBoyce's screenplay, is Steve Coogan as Tony Wilson. As everyone readingthis probably knows, Coogan based his famed Alan Partridge character onTony Wilson's career as a television reporter, so he's really playing avariation on Alan Partridge here. What's amazing about Coogan'sperformance is that he manages to draw even this Partridge fan intoTony Wilson's world so much that I didn't care about any similarity.It's still a stunning comic performance, and excellent during thedarker, more serious scenes in the film as well. I'd go as far assaying that it's one of the best male performances of the decade. Therest of the cast is too large to go through one by one, but everyone isexcellent here, some going for a sort of slightly altered impersonationof the real-life person they're playing, some creating their ownversion. A point of criticism often aimed at "24 Hour Party People" isinaccuracy. The film is gleefully inaccurate, and I fail to see howthat's a problem. We didn't need a pedantic, touch-on-all-bases filmabout Factory Records, because Factory Records would never have madesuch a movie had they ventured into film production. This is exactlythe sort of loose-knit and yet tightly-written film that is needed tocapture the energy of the music and the movement. Boyce's screenplaygoes through dozens of characters, none of which don't feel real, it'sgot enough pompous and arrogant philosophizing to turn off even theworst pseudo-intellectual, but it makes it work simply because it's gota sort of self-mocking sense of humor. The points Wilson makes byreferencing history and philosophy are valid, but it would be at oddswith the sort of film this is if they weren't written with the wry witthe rest of the film is, and if they weren't delivered so wonderfullyby Coogan. The film is shot on video, and uses a hand-held style whichfar from inhibiting the film as it arguably does with some otherWinterbottom films, just suits it perfectly. That doesn't mean therearen't some scenes which are explosively extravagant visually, becausethere are, and they are beautiful. "24 Hour Party People" feels like a complete artistic achievement. Itcaptures the energy of the music, the feel of it, the basis for themovement so well, but also succeeds at providing a well-told summary ofthe story of Factory Records, the Hacienda, and Tony Wilson. As far asI'm concerned it's one of the most enjoyable films ever made, and oneof the most consistently successful. I don't think there's anythinghere that falls flat, it's all quite brilliant, from the first scene tothe final shot. 10/10

Peter Howell 2012-05-16 13:22:16

Winterbottom captures the spirit of the times, although the film's camera shakes and psychedelic colour bursts may make many viewers feel like reaching for Gravol rather than Ecstasy.

David N. Butterworth 2012-05-09 09:52:37

Michael Winterbottom puts the Manchester, England music/club scene circa 1980 under the microscope... and forgets to take the lens cap off!

cyrus33139 2012-05-08 19:34:59

Movie? No. Soundtrack? Yes!

Though I've never been to Manchester, I owe much of who I am today to thesubjects of this film. I was six years old when the punk scene began, butcaught up to it in my early teens. I spent most of my early teen yearslistening to Joy Division, New Order, and the like. Towards my late teensImoved on, and evolved, as did Manchester, into the acid house and earlyravescene (though my raving days were in San Francisco). So, of course, when Iheard about this movie I couldn't wait to see it.Having said all that, I found this movie to be quite disappointing. Thoughit told us throughout the film that the birth and evolution of theManchester scene was a historical event it failed to show us the trueenergyand excitement. It is a film about Factory Records, but it seems tointentionally avoid creating a sense of what the punk-then new wave-thenacid house subculture was about. Factory records was obviously created outof a passion that is all but missing here. The story line is incoherent,though not in the avant-garde way that i believe it was meant to be. Ifyoudidn't spend the eighties living off the music that was the Manchesterscene, don't expect to learn anything about it from this film. If you did,like I did, then there will be parts inspired by the soundtrack that willinstigate a great longing for the days, when underground really was.There are some good points that should be noted. The portrayal of IanCurtis is amazing. And the dancing Happy Mondays guy and shots of theHacienda crowd while Voodoo Ray is playing will, for a moment, take youback..But, be warned, the comedown is harsh.Recommend the movie? No. Buy the soundtrack? Definitely!

Jonathan Curiel 2012-05-06 21:30:37

Winterbottom has set a high, new standard with 24 Hour Party People, his funny, riveting look at the music scene that ruled Manchester, England, from 1976 to 1992.

Pam Grady 2012-05-06 19:49:50

An engaging, funny, sometimes sad, compulsively compelling story -- even for those who wouldn't know the difference between Joy Division and long division.

DestroyTheFives 2012-05-04 15:54:21

Worth multiple viewings and a little homework

I get the general sense from reading some of the reviews thatpeople didn't like this movie because it didn't provide any instantgratification or personal meaning. That's probably true for peoplewho don't know Joy Division, New Order, or the Happy Mondays,but I think it's totally unfair to discredit this film on a basis of alackof prior knowledge. Many great films and novels aren't greatbecause you get them on the first try, and I think that this moviefollows the same path. If you didn't like it the first time, take a lookat an old Tony Wilson interview or a concert tape of Joy Divisionand you will instantly see the quality production and acting thatwent into this film.Ian Curtis/Joy Division are portrayed with an eerily hauntingaccuracy (down to the instruments they play, which are rumouredto be the originals from the late 1970s) and you can tell that thecast really did their homework. The concert scenes arespectacularly energetic, the sets (especially the Hacienda) areripped right out of the time period. Comic relief isn't overlooked, asthe dry humour of Steve Coogan and the rest of the cast ispursued to the dime. The unscripted dialogue is also quite good,which is another indication of the actors' homework. This movie isworth the time: it details a very important time and place in popmusic history that is often overlooked in the wake of much larger,more commercialized scenes. Rave and post-punk may be fadingtoday, but one need only take a look at the charts to see itsinfluence. Go out and get this movie, learn a little about it, and youwill be impressed.

Sean O'Connell 2012-05-04 09:10:34

Those who can't tell their Johnny Rotten's from their Right Said Fred's will be entertained by Coogan's charmingly relaxed turn and Frank Cottrell Boyce's ardent script.

Rogue-32 2012-05-01 04:56:17

Manchester, here I come!

Excellent pseudo-documentary about the emergence of the Hacienda club inManchester, England, grounded by a superb performance by Steve Coogan (whowas actually born in Manchester), playing club-creator Tony Wilson. Themovie deftly shows what happens when a club is run by ARTISTS rather thanbusinessmen. Could have been shortened by perhaps a good half hour butotherthan that, a solid effort. I'm on the plane now.

Camera Obscura 2012-04-30 21:11:44

"The Beatification of the Beat."

Still first choice for a late pop-in into the DVD-player when you'rehaving friends over for a late-night drink. Most of them have seen itby now, but I've yet to disappoint someone. It's a great success everytime, again and again. You'd wanna see this for the music, but youdon't even have to like Joy Division, Sex Pistols, The Buzzcocks, TheSmiths, A Certain Ratio, The Fall, Happy Mondays, this is just plainclever and fun. That's all there is to it. I was a fan of Joy Division before I saw this film and basically becamea fan of everything Mancunian afterwards. The film consists of twoparts. The first hour is Joy Division and the second hour is for TheHappy Mondays and the subsequent new rave and techno developments. It'sa blast, filled with priceless observations about musical developments,hilariously delivered by Steve Coogan as Tony Wilson, chief mogul ofthe chaotic Factory Records and Grenada Television reporter. All theother characterizations are simply brilliant. Don't miss it.Camera Obscura --- 9/10

2012-04-26 21:46:15

5 Stars with Wilson's Commentary - 3 Stars Without

"24 Hour Party People" was among the most entertaining motion pictures released in 2002, and easily one of the most engaging and innovative films that I've seen in years. Although certainly not for everyone, if you've an interest in the music industry, the UK indie scene, and/or Factory Records (of course) then this is mandatory viewing material.I'll not bore you with a summary of the plot...but it's no secret that there's almost as much fiction as fact in this comedic, documentary-style account of Tony Wilson and his legendary Factory record label. However, there are numerous exceptional portrayals of the central figures from Factory's sordid history, and the city of Manchester is a star in itself, functioning as the drab backdrop to the movie's colorful story.The DVD has two featurettes - a ten minute 'behind the scenes' piece (obligatory for almost all DVD releases) and a five minute quickie about the real Tony Wilson. Neither contain particularly engrossing content but they're welcome just the same. There are eleven deleted scenes, only a couple of which are really worth a toss (ironically, the cut scene with Vini Reilly that Steve Coogan's Tony Wilson actually references in the film isn't even included). There's a photo gallery with at least 40 stills taken during the film's production, although including pictures of the real people and places depicted in the movie would have made more sense. I've not listened to the running commentary by the real Tony Wilson or his celluloid facsimile, but I understand that both are enlightening. With the exception of the James Bond series, MGM Home Video is notorious for lacking in the special features sections of their DVD releases, so this product is actually commendable on their part. Of course, the UK DVD release of "24HPP" (complete with a Factory catalog number - FACDVD 424) is a 2-disc set packed with extras vastly superior to what's offered to us poor Yanks. So while I'd give the film five stars, the DVD rates only three, thus my average of four stars overall.

Jim Judy 2012-04-26 14:33:33

An uneven, hit or miss affair that never quite hits full Python stride and will probably only be appreciated by fans of one or both such music scenes.

Brian Gibson 2012-04-23 21:19:53

24 Hour Party People is a frenzied, metafilmic, postmodern splatter of a homage to a music movement . . . a jolting, raucous ride into the celluloid distance.'

ravi holy 2012-04-23 14:25:12

Rock 'n' Roll

This movie can take its place in the pantheon of great rnr movies alongsideThe Great Rock n Roll Swindle/Filth & The Fury and Spinal Tap - in fact itcould be the bastard child of that unholy union.It feels like a documentary although its a dramatisation and while it is acomedy its not a spoof in the way Tap was. Its funny more because rnr isfunny. Best bit - no spoiler - is probably the Mondays on tour. Absolutemayhem!Steve Coogan was phenomenal.Finally, as someone who has always loathed Tony Wilson (his public personaanyway) the film made me feel that despite his flaws here is a man whoLOVESmusic so good luck to him...

groovinkim 2012-04-22 01:52:06

I fell asleep.

I love New Order and like Joy Division, though I've never been a real HappyMondays fan. So I figured this film would be entertaining. How can you gowrong with something named '24 hour party people'?Unfortunately, I got so bored in the theater I fell asleep. So I can't givea good plot analysis, but I can say that very few films have put me tosleep...

paul2001sw-1 2012-04-22 00:10:48

Fun, but no soul

One is first tempted to greet 'Twenty Four Hour Party People', thestory of the rise and fall of Factory Records, with a groan ondiscovering that 80s (and even 90s) nostalgia is already with us. Butat least the film is made by Michael Winterbottom whose movies, somebrilliant and some not, at least have the merit that each one is quiteunlike the others. Which means that some freshness is virtuallyguaranteed, and Witnerbottom tells this story in an irreverent,self-knowing fashion that is at least lively, although it doessometimes give the film the feel of low-budget sitcom. This feeling isalso enhanced by the casting of comedian Steve Coogan, an actor oflittle depth, as Factory Records boss Tony Wilson. Like Coogan's famousalter-ego Alan Partridge Wilson was a TV presenter, but it is hard totell whether he was quite as similar to Partridge as this filmsuggests, or if Coogan simply isn't up to the job of playing adifferent character. And the decision to tell the story of Wilson alsoseems strange: he was not a kid whose life was transformed, or a singerwhose songs were sung the world over: he even kept his day job, andthere's little underlying character development in his story.Rationally, this isn't a very good film, although it's actually quitewatchable, and all the more so if you have lived through this era, andlistened to the music as it was new. But there are lots of potentiallyinteresting stories, like the death of Ian Curtis, or the wave ofidealism that briefly flourished with the coming of Ecstasy, whichcould have been covered with a bit more feeling. This movie is fun, butperhaps also a wasted opportunity; others who revisit this era willsurely have more to say.

Judith Egerton 2012-04-20 05:42:37

When it comes to capturing music in a visual medium, 24 Hour Party People ranks right up there with Martin Scorsese's 1978 rock documentary, The Last Waltz.

Ken Fox 2012-04-20 01:48:59

An absolute thrill for fans of the Manchester scene.

2012-04-17 06:09:59

Brilliant!

As a fan of New Order and Joy Division this was on the top of my list. Fast-paced, witty, and shot in documentary like style, 24 HOUR PARTY PEOPLE is a great movie along side the more traditional narratives like GO, ALL GONE PETE TONG, GROOVE, etc. Winderbottom does a terrific job in satisfying a range of audience and Steve Coogan is terrific. The soundtrack is solid and the produciton value is high. Not to be missed by fans (not ultimate fans) and general movie goers alike.

zken 2012-04-16 14:58:38

One of only two or three great Hollywood movies about music

You would think that Hollywood and the music business would be veryclose, with the executives lunching together every day in the slickrestaurant scene that only LA and New York City have to offer. But youwould be wrong. The evidence is that on both sides (music execs tryingto make movies and tone deaf Hollywood moguls)there has been a massivefailure in joining the two art forms. The one big exception is thegrowing body of work by Scorcese. Which brings me to this film, one ofthe top music movies ever made. For those of us who have followed musicsince the birth of rock n roll, it is particularly amazing andsatisfying that it took the British to make this masterpiece about theBUSINESS of rock. Since Edison, it is a combination of business andtechnology that has created the music industry and led to its massivemelt down, and the complete hand over to Apple. But that is anotherstory. This film does its best to sum up why and how it has beenimpossible for rock and roll artists to grow their art separate from acompletely insane and out of control money system that sold it down theriver. The setting of this film is in the brief but fascinatingManchester music scene and this is the perfect back drop for a goofy,chaotic, and ultimately tragic tale that just never stops moving. SteveCoogan is brilliant in a once in a life time role that must have beenwritten just for him. How else can you explain this funny, hilarious,and absolutely true picture of a music money man gone mad. I am notexaggerating that when movies were invented, they were meant for justthis; social and artistic commentary that is moving, funny andabsolutely unforgettable. I have seen this movie more than once, andeach time I am amazed, delighted and so sad that a artistic world onceso promising came to this.