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37 of 41 people found the following review helpful:
5.0 out of 5 stars
Anarchy & Beauty, June 23, 2003
Jubilee is a wildly beautiful - and entertaining - film which strikes a precarious, and compelling, balance between sheer anarchy and genuine beauty. I was so struck by it that I watched it three times in one week. Yet it remains an elusive work, constantly tantalizing with new connections and still more layers of meaning. The outstanding Criterion Collection DVD offers a wealth of supplemental features, making it an excellent introduction to both the film and director Derek Jarman.The basic plot of this experimental fantasy is simple: Queen Elizabeth I has the historical alchemist John Dee summon the spirit Ariel and transport all of them 400 years into the future, where they find London a post-apocalyptic wasteland. The talented Jenny Runacre plays both Queen Elizabeth and the anarchic latter-day "queen" Bod, who leads an all-female biker gang. Made in 1977, at the height of the Punk movement, Jubilee has misleadingly been called a "Punk movie." Despite its trappings (from clothing to casting several well-known singers), ultimately it seems more about Punk than of it. How Jarman uses then-rising star Adam Ant is revealing. With his sweetly boyish persona - made just a bit wild by the black leather and painted-on lower sideburns - Adam Ant as "Kid" is undeniably appealing. But throughout he is as passive offstage as he is frenzied onstage. And Kid, unable to connect with anyone, will do anything for his career. He signs with the grotesque Borgia Ginz, the multinational mogul who controls the entire planet's media - hence political, even religious - power structure. Ginz immediately rechristens Kid as "Scum. That's commercial. It's all [the audience] deserves." One of the film's most haunting images is of Kid lasciviously kissing his own image on a TV. How's that for a postmodern twist on the myth of Narcissus? Beyond the Punk movement, Jarman turned to many diverse sources to flesh out his vision for Jubilee. It's powerful on its own terms, without any need for "footnoting," but the wide-ranging references create a fascinating texture. He uses film (notably Cocteau's Blood of a Poet, Godard's La Chinoise, Pasolini's Oedipus Rex, and Kubrick's A Clockwork Orange), literature (Huxley's Brave New World, Orwell's 1984; also his pastiche Elizabethan dialogue is beautiful: "I cast for Ariel, pearl of fire, my only star...."), history and myth (suggested by character names, from the historical female ruler of ancient Britain, Bodicea - i.e., "Bod" - and the Borgias to mythical figures like Sphinx and Angel), and even dance club culture (characters named Amyl Nitrate and Crabs). He is also one of the most creatively playful of modern filmmakers, and that schoolboyish "let's put on a show" energy keeps his films, even with their density of themes, buoyant and wonderfully entertaining. Jarman also brings great emotional resonance through his characters (most of whom he cast from friends and lovers). I was often surprised by how much I cared about these eccentric, and sometimes lethal, allegorical people. Although each viewer will bond with different characters, I was most moved by the "triangle" between the two teasingly incestuous brothers, Sphinx and Angel (who utters the classic line, "I didn't know I was dead till I was 15"), and the artist Viv (whom Jarman described, affectionately, as a "butch dyke"). Their tangled connections, although genuinely caring, never reach true equality: The two men, on one level, can be seen as using the woman as a way of enhancing their own (masculine, even incestuous) relationship. Still, they become all the more affecting at the film's climax (which I will not divulge). There is so much more to Jubilee than I can suggest in the brief space here: It is visually gorgeous (Jarman is a master of composition and lighting; he began as a painter, and stage and film designer), makes fascinating use of music (from Punk to classical) and sound effects, offers a provocative series of ideas about history (as Amyl says, "History still fascinates me. It's so intangible. You can weave facts anywhere you like. Good guys can swap places with bad guys"), media manipulation and artistic narcissism and audience passivity, and, ultimately, the duality of beauty and anarchy, which are perhaps two sides of the same double mirror.
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