THE BOAT THAT ROCKED
UK, 2009, 135 minutes, Colour.
Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Kenneth Branagh, Emma Thompson, Nick Frost, January Jones, Jack Davenport, Rhys Darby, Chris O ’Dowd, Tom Sturridge, Tom Wisdom, Gemma Arterton.
Directed by Richard Curtis.
There are a number of features here that will interest potential audiences. The film is directed by Richard Curtis, writer for so many Mr Bean comedies, Blackadder, French and Saunders, Four Weddings, Notting Hill, Love Actually – and The Vicar of Dibley. It has a starry British cast led by Bill Nighy, Kenneth Branagh, Rhys Ifans, Emma Thompson plus Philip Seymour Hoffman. It is about Rock and Roll and the pirate radios in the North Sea in the 1960s which played music 24 hours a day and had an enormous following until they were banned and put out of business in mid-1967. Those young at the time may well want to re-live it.
But...
It's very long. And, just when it seemed to be ending and we would receive information about what the British Government did and the consequences, it goes on for another half hour, defying the government, springing a huge leak and moving from Titanic mode to a neo-Dunkirk rescue. Which, in terms of the historic realities seems a bit too much of a claim. In this era of verbal sensitivities, it is surprising to hear Philip Seymour Hoffman say to Rhys Ifans, that the 'holocaust' taking place in Vietnam will be as nothing to the egotistical duel they will fight with each other to prove that one is chicken. And their silly clash takes up a (un)fair amount of time.
In fact, the screenplay does not seem as funny as it hopes to be – and there are some crass bits which may be how people talked back then (or not). This may be because the characters deep down are not all that interesting. Radio Rock is a ship out in the North Sea, with Bill Nighy as the proprietor and a staff of men only (except for the lesbian cook) with eager women arriving on Saturdays for rest(lessness) and recreation. And the men are a motley lot of eccentrics (except for naïve young Carl (Tom Sturridge) who has been sent by his mother to experience, well, being a 1966 English man, whatever that is meant to be). They are absolutely devoted to their music and their programs – and, we are shown frequently a huge range of fans from every walk of life from school kids to an Asian Londoner in his shop.
Curtis tends to make them icons of pop culture, heroes of counterculture, which probably sentimentalises them far more than they deserve. Looking at them, listening to them, their adolescent behaviour, cracks, their bickering, they are actually a bunch of ratbags that you probably would want to meet only on the screen rather than in real life.
During the film, with the sex talk and shenanigans, a phrase that was often used in reviews of the past floated into mind, 'low moral tone'. And it is. While trying to avoid being too puritanical or commenting on the music itself, we might see the film as a celebration of a low moral tone.
Though it is a serious caricature, Kenneth Branagh's exaggerated cabinet minister on the warpath to exterminate Radio Rock at all costs (including their lives), became one of the more entertaining, even funny, aspects of the film. But even his assistants were given crass names to fit in with the proceedings.
So, a disappointment, considering the potential.
1.British media history? Radio and developments? The history of rock ‘n roll? The mid-60s?
2.The re-creation of the period, its look, London and parliament, interiors and exteriors, the boat and the North Sea, the interiors of the boat, the studios?
3.The music, rock ‘n roll, the range and selection, the limitations, as played by the deejays, in the background? The listeners, their response?
4.The nature of pirate radio, the contrast with the BBC, broadcasting music, legislation, audience tastes and changes, copyright issues, advertising?
5.The government against pirate radio? The cabinet meetings? The role of the prime minister, Minister Dormandy? The crusade against the radio rock ship? Motivations? Dormandy and his staff, the meetings, his manner, dress, speaking, peremptory? Twatt and his being chosen for the campaign? The secretary and her listening to the radio?
6.Twatt and his crusade, ideas, advice, Dormandy and his moods, wanting to fire people? The final plans? The legislation?
7.The introduction to the boat, Carl arriving, Quentin’s godson, his mother sending him, his being expelled, expectations? His attitudes? The deejays and his admiration for them? Bunking with Thick Kevin? Work, shy manner, the Saturdays and the women’s arrival, Dave and his setting him up, in the dark, the fiasco? The spirit of the boat? The activities? Marianne and his being forward, Dave and the condoms, her going with Dave, his being upset, his mother arriving, the quest to find his father, suspecting Quentin, discovering it was Rob? Marianne’s return, the night with her, broadcasting it on the radio? The final rescue?
8.Quentin as manager, his manner, the touch of the fop, his decisions, employing the count? The count and his wanting to swear on air? Quentin trying to stop him? The role of the government? His being overheard? The rivalries between Gavin and the count? The issues of advertising, contracts? The celebration of Simon’s marriage? The final broadcast, his announcing that the boat would sink, their probable deaths? Surviving?
9.Mark, deejay, silent, in action, the women, his philosophy? Angus and his not being liked, cantankerous, not being able to swim, thrown in the water, his being scared, people’s reactions? Rob, on the dawn show, not seen, the drug background, his love for the music, his reaction to the news that he was Carl’s father? Wanting to stay, Carl rescuing him, clutching the record, surviving?
10.The count as American, his manner, freedom of attitude, reputation, on air, swearing, not welcoming Gavin, the rivalry, leading to the fight, the mutual accusations of being chicken? Climbing the mast, diving into the water, the injuries? Making peace? Staying in the studio, but finally surviving? His philosophy about music and its long life?
11.The contrast with Gavin, his manner, reputation, on air, lewd and suggestive, his behaviour? The situation with Eleanore, Simon and the marriage, Eleanore’s going to him? The rivalry with the count, climbing the mast, diving first into the water, his injuries?
12.Simon, simple, his dreams, meeting Eleanore, the marriage ceremony, the night, bringing her tea, the truth about her plan? The support from the others?
13.John, his announcing the news, his assistant and not wanting to go back to Peckham?
14.Felicity, the only woman, her being the cook, sexual identity, the visiting girl, the rescue?
15.The fans, their range, the visualising of them listening, their activities, this being scattered through the film?
16.The groupies, arrival on the boat, motives, sex?
17.The character of Twatt, the background of Yes, Minister, his plans, determination, seriousness, issues of advertising, legislation? Going on board, discovered spying? The Christmas dinner and its ultra-formality at Dormandy’s house? The final success, Dormandy’s wife and her congratulations? The sinking of the boat, his phoning to the minister, the minister’s refusing to send help?
18.The comedy, on board, the characters, the contrast with Dormandy, the satire and caricature, the Christmas dinner? His hardheartedness at the end?
19.The images of the Titanic as the boat was sinking, the survivors on the deck, the rescue, sending out the radio message?
20.The images of Dunkirk, the rescue?
21.The atmosphere of the period, the 60s and change, moral perspectives, music, drugs?
22.Setting up the characters as icons, heroes – but also ratbags?
