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December 19, 2003
About "The Filth and the Fury",
the Sex Pistols documentary. Footage of people
famous for being
There's a lot to like famous like Sue
about this flick. The decision to interview Catwoman was
the band members backlit definitely
like anonymous witnesses appreciated.
is cute: it keeps you from
being distracted by inane
thoughts like "they're not
young any more".
But they're playing
games with warping
The party line here is:
(1) Malcom McClauren (2) Nothing preceeded
was useless. the Pistols, There was
no New York punk scene.
Rotten does succeed in
painting Malcom McClauren as Early on in the flick,
an asshole. The worst detail they do a bunch of cutting
in this documentary: it around to different bands,
strongly suggests McClauren providing the musical
encouraged Sid Vicious to context for the early punk
backslide into heroin use years. They don't hit
again. anything more extreme than
Roxy Music. In the
(but from other beginning, things were
But Rotten's sources I hear dull, then there was...
resentment at the that McClauren The Sex Pistols!
idea that McClauren was anti-drug).
"created" the Sex Later on, there's a
Pistols doesn't back-handed mention of
really seem to be some influence from "The
justified. New York Dolls": one of
the Pistols says he used
To the extent that to dance around a bit
you can tell these like the Dolls -- which
things at all, it he finds very
does indeed seem embarrassing now.
that McClauren was
instrumental in It's nice of them,
bringing the group to mention the "Dolls",
together, and in considering that
providing them a they're a strong
"look". Word has it contender for "First
he had them imitate Punk Band".
Richard Hell of the
New York scene. FIRST_PUNKS
managed The New York
Dolls for a time,
before forming the
McClauren is analogous
to (and was probably
consciously imitating) (Though Paul Morrisey
Andy Warhol in the insists that he was
Velvet Underground story. the Factory member
that really worked
on the VU project...)
So it's FACTORY_DAYS
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