Image Unavailable
Color:
-
-
-
- Sorry, this item is not available in
- Image not available
- To view this video download Flash Player
Derek
Learn more
- Free returns are available for the shipping address you chose. You can return the item for any reason in new and unused condition: no shipping charges
- Learn more about free returns.
- Go to your orders and start the return
- Select the return method
- Ship it!
Enhance your purchase
| Genre | Documentary/Biography, Special Interests |
| Format | Multiple Formats, Color, NTSC, Widescreen, Letterboxed |
| Contributor | Isaac Julien, Tilda Swinton, Derek Jarman |
| Language | English |
| Number Of Discs | 1 |
Product Description
Isaac Julien's (Young Soul Rebels, Looking for Langston) documentary blends together vintage clips from Jarman's groundbreaking experimental theatrical works and 8mm films, never before seen footage from the sets of his Queer Cinema milestone Sebastiane and punk film landmark, Jubilee, and revealing interview footage shot shortly before Jarman's death in 1994. In his own words and the words of those who knew him best, Derek reveals Jarman's religion-scarred beginnings and his ascent in the vibrant UK counterculture of the 60s and the London punk scene of the 70s. Also covered, his eight film collaboration with muse, companion and collaborator Tilda Swinton, the influential music videos made with the Smiths and the Pet Shop Boys, and Jarman's contributions to a British art scene he helped to redefine.
Product details
- Aspect Ratio : 1.85:1
- MPAA rating : NR (Not Rated)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 2.72 Ounces
- Item model number : 4097189
- Director : Isaac Julien
- Media Format : Multiple Formats, Color, NTSC, Widescreen, Letterboxed
- Run time : 2 hours and 25 minutes
- Release date : September 2, 2008
- Actors : Tilda Swinton, Derek Jarman
- Language : Unqualified
- Studio : Kino Lorber
- ASIN : B001BDZR26
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #267,542 in Movies & TV (See Top 100 in Movies & TV)
- #15,489 in Documentary (Movies & TV)
- #17,833 in Special Interests (Movies & TV)
- Customer Reviews:
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Edward II: The story revolves around King Edward's open homosexuality, which eventually led to his murder and succession. Instead of lush historical settings, the film uses bare walls and dirt floors and puts the cast into smart suits.
Caravaggio: Caravaggio traveled among thieves and prostitutes, many of whom were his models. He once killed a man, kept a deaf/mute child as a virtual slave, and squandered every penny he ever made.
Blue: In Blue, the color blue is all there is to see as Jarman tries to bring the audience into his vision-impaired world. Jarman offers his insights on life, love, disease, the meaning of art, and the symbology of the color blue over a blue screen.
The Angelic Conversation: The story is about the love between two men (portrayed by Paul Reynolds and Philip Williamson), seen against a backdrop of bleak industrial cityscapes or abstract landscapes.
The documentary starts with some images from Derek Jarman's infancy with his parents and family. The text accompanying these images is by Tilda Swinton, narrated by the same with some images of her in Present day London or at Derek Jarman's cottage.
It sure is a tribute to the memory of this film maker, and it is deserved first because of his active participation in social issues like free sexual orientation as well as the more general question of social segregation. But the main interest is not at this level. The documentary enables us to define Derek Jarman as different from most film makers of his time. They used cinematographic technique along with a cinematographic vision. They were, and still are, contained, and some might say narrowly contained, in the film industry, the film technology and the film narrative genre.
Derek Jarman is at heart and in the deepest convictions of his mind a visual person who sees the world with the eyes of a painter and he makes his films with such an orientation, that has nothing sexual this time: he is painting the screen with his camera and editing bench. That's why he is so at ease with Caravaggio and why he reduces Wittgenstein to a purely visual image of a parrot in a cage itself in a cage with Wittgenstein imprisoned in it. That does not explain the thinking of the philosopher, or the genesis of this thinking, or even the relation between the philosopher, language, logic and the world. It only provides us with an image that is a visual metaphor of all the rest.
That makes Derek Jarman the British counterpart or equivalent of the American Andy Warhol, including his factory. Derek Jarman represents his generation and many of the things he did can only be evoked with nostalgia. That time is gone. A few films might yet survive because they reach beyond the simple direct evocation of the world in the 1960s-70s-80s, like Caravaggio, Sebastiane, maybe Wittgenstein. But even what he says about love is totally passé. Love cannot be reduced to sex. Love does not imply sex necessarily. Love is a mental, neuronal and sentimental passion, whereas sex is a hormonal desire and hunt.
That was a time when promiscuity was the norm, and we can think of the animated film Fritz the Cat to have an idea of how extreme that promiscuity could be, how tragic too when it becomes Zabriskie Point. At the same time in those years sexual orientation was a stake for those who wanted to define themselves as gay or lesbian, but after 1968, and even some time before, it was trendy and even a must in some social areas to be bisexual, to try both sides of the coin, to be ACDC. Today after the tragedy of AIDS we have discovered safe sex for everyone, because AIDS is not a question of sexual orientation, and we are reaching in some countries and even at the UN the point when sexual orientation is becoming a basic human right and one fundamental freedom that can be visible in public like all freedoms should be.
I will personally regret the quick image of Margaret Thatcher in connection with the political struggle around sexual freedom. She was moderate in many ways when Ronald Reagan purely declared AIDS to be a judgment and punishment from god against sodomites at a time when most states in the USA considered sodomy, including heterosexual, as a felony if not a crime. It is true to make that connection with Margaret Thatcher but it becomes circumstantial although the question is by far universal.
A good testimony about an artist who deserves it and a time that was so contradictory that it looks prehistoric if not even antediluvian. Was life really like that? Oh yes, but it does not speak to us any more. Happy were those who went through promiscuity and multi-orientation without getting sick, not to mention dying! But that was pure luck because we did not even think about it. We just did it and woke up oblivious and refreshed on the following morning: we picked our clothing, tried to dress before leaving and went back to life outside in the street, with a little bit of streaking across the front garden. In fact we do not remember those we had sex with so much. But we will never forget those we refused to have any intercourse with. The world was upside down and that does not mean it has straightened up, far from it.
Dr Jacques COULARDEAU
The film is very good in that it consists of mostly home footage of Jarman, his family, his home movies, clips from his films, and a long interview segment that is edited throughout the film. Jarman comes across as a really wonderful, witty, and artistic man (which he was). The filmmaker lets Jarman speak for himself, which I like very much, but the segments with Tilda Swinton are very dry and borderline dull. I find it rather sad that the director didn't do more with Tilda, as Tilda was one of the producers on this film and also wrote and narrated it. It was Derek Jarman who really discovered her, and it's apparent than Tilda still misses her mentor very much. Many entertainment reporters never mention that Swinton got her start when Jarman cast her in his films. Jarman is quite extraordinary in that I have never heard a bad word spoken about him by anyone. Even the cranky Ken Russell, a great filmmaker but someone who had a difficult personality, spoke glowingly about Jarman and his work as production designer on Russell's still controversial film The Devils. Unfortunately, Russell isn't interviewed here, but I met Ken at a screening of The Devils last Halloween, and he talked about Jarman in such glowing, warm terms, as if he were still alive. It was actually quite moving, and when Jarman's name appeared on the credits of the film, he was appaulded.
I would recommend this film to anyone interested in Jarman's work, and then rent The Last of England, Jubilee, Caravaggio, and Blue. Then rent the rest of his filmography.


