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48 votes
genre - Documentary
star - Martin Atkins
USA

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The public image is rotten (2018

Old punks hold grudges in "The Public Image is Rotten, " a middling documentary portrait of ex-Sex Pistols vocalist John "Johnny Rotten" Lydon and Public Image Limited (PiL), the decades-old punk rock group that Lydon formed soon after the Sex Pistols' highly publicized implosion. Lydon, now 62 years old, is understandably the focus of the documentary since he's been PiL's only constant member since the group's creation in 1978. It's no secret why the band has had a sort of revolving door membership: Lydon seeks—and often finds—betrayal from discontent bandmates who are either not getting paid enough, or otherwise cannot afford to stick around the punk rock group answer to the island of misfit toys. To his credit, Lydon often insists on telling an "honest" version of his band's story, so cinematographer turned director Tabbert Fiiller frequently allows Lydon's colleagues, mis-managers, and back-stabbers to respond to his charges. Unfortunately, "The Public Image is Rotten" often feels like an illustrated airing of grievances that also happens to be an in-their-words history of Lydon's best band. This illustrated catalog of grievances is partly underwhelming because Lydon's stories have already been told—and often with greater detail—in indispensable punk histories like Legs McNeil's "Please Kill Me" and Phil Strongman's "John Lydon's Metal Box. " It's also pretty hard to imagine this superficial new documentary making a strong impression on anyone but diehard fans since Fiiller mostly considers PiL as an anti-scene unto themselves (ie: whatever it was, they were against it) rather than a music group whose avant garde style made Lydon's many discontents seem a while, anyway. (the band has released ten studio albums to date, and only four of them are really good). Lydon often seems to dominate the film's oral-history-style narrative, which is a bit disappointing since he published an autobiography two years ago. He re-covers a lot of old ground about topics ranging from his troubled youth—in addition to being neglected by his parents, Lydon also completely lost his memory at the age of seven following a coma—to his joy at recently performing with PiL (pronounced "pill" by several band members). But many of Lydon's free-wheeling discussions with Fiiller tell a very one-sided story. Lydon predictably takes some jabs his favorite punching bags, like ex-manager Malcolm McLaren and filmmaker Julien Temple. He also briefly mentions the death of Sex Pistols bassist Simon "Sid Vicious" John Ritchie. But Fiiller and Lydon's laissez faire approach probably won't clarify for uninitiated viewers—or even established fans—how the band's chaotic personal histories informed their shared creative genius. Then again, punk music isn't often taken seriously as music; instead, it's treated like a social movement that occasionally sold records, clothes, and other accouterments for a flash-in-the-pan anti-authoritarian lifestyle. As such, it's pretty easy to nod along to Lydon and his bandmates' avuncular stories about PiL's recording sessions, live concerts, and blunt songs, like the ripped-from-the-headlines-style murder ballads "Annalisa" and "Poptones. " Lydon used to be a creative lightning rod, and "The Public Image is Rotten" doesn't do much to explain why. Fiiiler doesn't even spend enough time talking with musicians who were influenced by PiL—everyone including Moby, Sonic Youth's Thurston Moore, and the Red Hot Chili Peppers' Flea—about what made albums like "Metal Box" or "First Edition" so formative for them. And Lydon isn't pressed to explain why, for example, he considers their Palladium show—which almost erupted in a riot after Lydon, drummer Martin Atkins, and a few hastily arranged stand-ins performed behind a gigantic tarp—to be the band's best live performance. This is especially disappointing since behind-the-scenes chaos has always been PiL's trademark. It's hard to believe now—especially given the band's disappointing 2015 record and current line-up—but these guys used to fight among themselves, and then somehow cobble together ingenious, heavy, pompous, challenging screeds about dead girls, religious hypocrisy, and the sad state of music and the world. The band has always been in some state of disrepair, so focusing on their clashing personalities and personal histories was probably a mistake. Diehard fans may enjoy "The Public Image is Rotten, " but there's not a lot here that they—or even adventurous newbies—can't get more of elsewhere. Simon Abrams Simon Abrams is a native New Yorker and freelance film critic whose work has been featured Esquire, the Village Voice and elsewhere. The Public Image is Rotten (2018) 103 minutes about 3 hours ago about 4 hours ago.

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The public image is rotten netflix. The public image is rotten film. The public image is rotten north american tour 2018. The Public Image is rotten. The public image is rotten movie. The public image is rotten vod. Movies | Review: Johnny Rotten Mellows (a Bit) With Age Credit... Abramorama The Public Image is Rotten NYT Critic's Pick Directed by Tabbert Fiiller Documentary 1h 45m “Never Mind the Bollocks, Here’s the Sex Pistols, ” the 1977 debut and ultimate album by the title punk rock band, sounds kind of like a classic rock album today — particularly if you don’t pay too much attention to the words. The crunchy power chords, the pummeling rhythm section — it’s all conventionally head-banging. Video A preview of the film. But the earliest post-Pistols musical efforts of Johnny Rotten (also known by his real name John Lydon) — the band’s lead vocalist and architect of punk iconography — did not then, and never will, sound like classic rock. “The Public Image Is Rotten, ” a documentary directed by Tabbert Fiiller, has some valuable insights into how the spectacular 1979 album variously known as “Metal Box” and “Second Edition” was made by Mr. Lydon’s band Public Image Ltd. But it is mostly a portrait of Mr. Lydon, now 62 and still a witty, mercurial figure fascinated by commercial fame and constantly wrestling with the challenge of making viable art within that framework. This documentary doesn’t get too wonky about the process by which the masterpiece “Metal Box, ” and subsequent mixed-bag records, was achieved, but it does chronicle juicy clashes between Mr. Lydon and his former colleagues Jah Wobble, Keith Levene and Martin Atkins, all of whom get a say in the proceedings. As do subsequent Public Image enablers, the protean producer and bassist Bill Laswell and the genuine classic rock drummer Ginger Baker — Mr. Lydon’s roster of collaborators over the decades has been eclectic. Even if you’ve scratched your head over Mr. Lydon’s TV ad work and other efforts to maintain a professional life in recent years, this affectionate and frank movie can elicit newfound admiration for a slightly mellowed iconoclast.

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