24 Hour Party People

Directed by Michael Winterbottom and written by Frank Cottrell Boyce, 24 Hour Party People is the story about the rise and fall of Factory Records from the late 1970s to the early 1990s told by its founder in a Granada TV reporter named Tony Wilson. The film explores Wilson’s desire to showcase something new in the advent of punk as he would launch the careers of acts Joy Division/New Order and the Happy Mondays all hailing from the city of Manchester. Starring Steve Coogan, Shirley Henderson, Lennie James, Paddy Considine, Danny Cunningham, Paul Popplewell, Sean Harris, and Andy Serkis. 24 Hour Party People is a whimsical yet truly original docu-drama from Michael Winterbottom.

Tony Wilson (Steve Coogan) is an unhappy reporter for Granada TV as he attends a local concert with his wife Lindsay (Shirley Henderson) and friend Alan Erasmus (Lennie James) where playing at the show were the Sex Pistols. Along with many soon-to-be-famous figures attending this legendary concert, Wilson creates a show called So It Goes that becomes a hit in Manchester as it explored this new wave of artists emerging from the punk scene. Tony decides to end the show in order to create a showcase for local bands as it would include Joy Division managed by Rob Gretton (Paddy Considine). Though Tony would later have a liasons with a couple of hookers, Lindsay would in turn have sex with the Buzzcocks’ Howard Devoto (Martin Hancock). With the help of Erasmus and Gretton, Tony decides to form his own label called Factory Records as he signs Joy Division to the label.

Joy Division becomes a success, with the help of its troubled producer Martin Hannett (Andy Serkis), but the health issues of its singer Ian Curtis (Sean Harris) nearly derails everything as a tour to the U.S. is about to happen. Instead, Curtis’ suicide would end things as Lindsay leaves Tony who forges ahead with the label’s next venture in a club called the Hacienda. With Hannett gone from the Factory Records label and Tony unsure about the label’s future as well as the future of the Hacienda. Joy Division is revived as New Order where their song Blue Monday becomes a hit despite the expensive packaging by Peter Saville (Enzo Cilenti). Then a new local band emerged in the mid-1980s called the Happy Mondays would arrive with a new sound as Tony signs them to the label.

With Hannett returning to produce the Mondays’ second album Bummed, a new culture was emerging as Manchester became the capital of cool while the local music scene became massive. The Hacienda becomes the place to party as Tony becomes enamored with success and gains a new girlfriend in beauty queen Yvette Livesey (Kate Magowan). Yet, things would eventually fall apart due to financial mismanagement, Martin Hannett’s death, and the drug use of Happy Mondays’ vocalist Shaun Ryder (Danny Cunningham). All of this would force Tony to do something that would be against everything he stood for.

Most music bio-pics or stories about a certain music scene/time period often deviates to certain formulas. What made this film stand out from the rest is the fact that it doesn’t play by the rules. Instead, the fourth wall is often broken by its protagonist Tony Wilson as he would comment on everything that is happening in this 16-year period of success and failure. At one point, the real Tony Wilson appears directing a TV show as its doppelganger would point him out to emphasize the absurdity of this film. While Wilson may claim that he’s just a supporting character in this film as it’s about the music and the men who made that music. There is clearly no doubt that he is the most interesting person in that story.

Frank Cottrell Boyce creates a screenplay that plays with the rise-and-fall formula by doing the one thing most music bio-pics or docu-dramas often do which is to take dramatic liberties with the real story. It’s something that is frowned upon by music critics and historians who feel that it takes away from the real story. What Bryce does is that he plays up to these exaggerations by having the audience be aware that some of the moments that is shown on screen is an exaggeration. One key scene is where Tony catches his wife Lindsay having sex with Howard Devoto as there’s a janitor stating “I don’t remember any of this happening”. That person is the real Howard Devoto as Tony would later admit that it never happened but Tony would counter that by stating that he’s sticking to the legend of what happened.

It’s the exaggerations, breaking the fourth wall, and not playing by the rules that allows the story to be more than just what it is expected in its genre. Boyce’s script is filled with lots of humor as well as pretty accurate portrayals of the individuals who would help contribute to the history of British popular music. Ian Curtis is portrayed as a troubled genius. Shaun Ryder is portrayed as a drug-addicted writer that Tony claims is the greatest Poet since Yeats. Rob Gretton is portrayed as a short-tempered man who is willing to get into fights with everyone. Peter Saville is known as a guy who creates these great posters and art work yet would often miss the deadline. Then there’s Tony Wilson who is portrayed as many characters would often call him. A twat. Yet, it’s a very comical character of a man whose principle about giving the artist the freedom to fuck off while just wanting a fair share of whatever profits are made.

Michael Winterbottom’s direction is definitely filled with style as he creates a film that plays up to its off-the-wall story. Shooting on location in Manchester, Winterbottom aims for the authenticity of that city as he would also create a look that is very engaging and vibrant. Notably as all of it shot on digital with elements of grain to heighten the look of the different periods that is displayed in the film. Featuring re-creations of the TV programs that Tony Wilson hosted inter-cut with actual archival footage of those programs. Winterbottom gets a chance to re-create a period in time that is never going to be replicated.

Another key element of Winterbottom’s direction is the comedy as Winterbottom opens the film with Tony Wilson reporting about hang gliding that is presented with Wilson acting like a moron. A lot of the humor is mostly improvised in order to not go for cheap gags while some of it is quite dark. The scene where Shaun Ryder meets Bez (Chris Coghill) for the first time via UFO is among one of the film’s most surreal moments as well as another scene involving Shaun and his brother Paul (Paul Popplewell) who throw bread to pigeons as if it was a war film. The overall work that Winterbottom does is truly phenomenal in terms of its emphasis to re-create a period in time and tell it with great humor.

Cinematographer Robby Mueller does an excellent job with the film‘s grainy digital photography to play up the grimy look of the 1970s and 1980s for its exteriors to the more colorful lighting set-ups in the Hacienda nightclub scenes along with black-and-white shots for some of the musical performances. Editor Trevor Waite does an amazing job with the film’s editing in creating unconventional rhythms for the film’s pacing while utilizing stylish cuts for some of the film’s transition and music scenes. Production designer Mark Tildesley, along with set decorator Lucy Howe and art director Paul Cripps, does great work in the re-creation of the Hacienda club for its interiors as well as the other club in the late 1970s where Tony presented the bands of Manchester.

Costume designers Stephen Noble and Natalie Ward do fantastic work with the costumes made from the bellbottoms of the 1970s to the more baggy clothing of the late 80s/early 90s. Makeup designers Janita Doyle and Jill Sweeney do wonderful work with the hair and makeup design for some of the characters, notably the Martin Hannett character, to emphasize the changing times throughout the film. Sound editor Zane Hayward does amazing work with the sound pieces such as the atmosphere of the Hacienda nightclub to the musical performances that occur in the late 70s set pieces.

Music supervisors Liz Gallacher and Pete Tong create a truly phenomenal soundtrack from start to finish that truly explores the best of what the music scene had to offer from 1976 to the early 90s. With music ranging from punk, house music, Madchester, post-punk, and new wave. It’s a truly intoxicating soundtrack to listen to as it features music from the Sex Pistols, the Durutti Column, A Certain Ratio, Joy Division/New Order, the Happy Mondays, 808 State, the Clash, A Guy Named Gerald, the Buzzcocks, the Jam, and many others. It’s definitely one of the great film soundtracks of the last decade.

The casting by Wendy Brazington does a truly outstanding job with assembling the film’s cast and cameos that appear for this film. Among those making cameos are the real Tony Wilson as a TV director, Happy Mondays bassist Paul Ryder as a drug dealer, Stone Roses bassist Mani, Mark E. Smith of the Fall, Clint Boon of Inspiral Carpets, Vini Reilly in a very brief cameo, Keith Allen as London Records executive Roger Ames, Kenny Baker of Star Wars as a zookeeper, Martin Hancock as Howard Devoto, DJ Mike Pickering, Happy Mondays backing vocalist Rowetta, and Howard Devoto as the janitor who calls out on his supposed tryst with Lindsay Wilson. Notable small appearances include Simon Pegg as a guard, Rob Brydon as a journalist, Peter Kay as club owner Don Tonay, Kate Magowan as Tony Wilson’s third wife Yvette, Dave Gorman as local icon John the Postman, and Enzo Cilenti as the always late graphic designer Peter Saville.

Playing the members of Joy Division/New Order, John Simm, Ralf Little, and Tim Horrocks are very good in their respective roles of Bernard Sumner, Peter Hook, and Stephen Morris while Sean Harris gives a very haunting performance as Ian Curtis. In the part of the members of the Happy Mondays, Paul Popplewell and Chris Coghill are funny in their respective roles as Paul Ryder and Bez while Danny Cunningham is hilarious as drug-out sleaze-bag Shaun Ryder. Shirley Henderson is really good as Tony’s first wife Lindsay while Lennie James is terrific as Factory Records co-founder Alan Erasmus.

The film’s best supporting performances go to both Andy Serkis and Paddy Considine in their respective roles as producer Martin Hannett and Joy Division/New Order manager Rob Gretton. Serkis brings a very dark yet comical performance as the very brash Martin Hannett who serves as a fellow troublemaking confidant to the Mondays. Considine brings a wonderful sense of humor to the role as the short-tempered Gretton who is always ready to beat someone up and isn’t afraid to say anything. Finally, there’s Steve Coogan in a truly marvelous performance as the late Tony Wilson. Coogan brings a great sense of wit and swagger to a man that is kind of an idiot while proving to be an ambitious fuck-up. It’s definitely the best performance that Coogan has given in his career.

24 Hour Party People is a truly fun yet ravishing musical docu-drama from Michael Winterbottom. Thanks in part to a truly brilliant ensemble cast led by Steve Coogan along with Frank Cottrell Boyce’s whimsical screenplay. It is definitely one of the great films about a piece of musical history that explores the world that would help shape the British indie scene. Particularly as the film serves as a great introduction to Madchester, punk, post-punk, and house music thanks in part to a top-notch soundtrack. In the end, 24 Hour Party People is an extraordinary film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film) - The Claim - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

Related: Control (2007 film) - Favorite Films #8: 24 Hour Party People - Joy Division (2007 film)

© thevoid99 2012

Wonderland (1999 film)

Originally Written and Posted at Epinions.com on 5/27/07 w/ Additional Edits & Revisions.

Directed by Michael Winterbottom and written by Laurence Coriat, Wonderland is an ensemble-based feature about three sisters and their parents preparing for Guy Fawkes Day while dealing with their own individual lives. The film reveals the dysfunctions and loneliness in family life as sisters often coming together to talk about real-life problems. With an all-star cast that includes Gina McKee, Molly Parker, Shirley Henderson, Ian Hart, and Stuart Townshend. Wonderland is a powerful, poignant family drama from Michael Winterbottom.

It's another typical Thursday night for Nadia (Gina McKee) as she looks for love at a party. Her older sister Molly (Molly Parker) is late in her pregnancy as she talks to her older sister Debbie (Shirley Henderson) who is dealing with life as a singler mother to her 11-year old son Jack (Peter Marfleet). While Nadia would often babysit Jack for Debbie who is also trying to find love after divorcing Dan (Ian Hart), Nadia's love-life gets a boost when she meets a photographer named Tim (Stuart Townshend). Outside of London, the youngest brother of the sisters in Darren (Enzo Cilenti) is taking a trip with his girlfriend Melanie (Sarah-Jane Potts) as he's been estranged from his family for years. Their parents in Eddie (John Simm) and Eileen (Kika Markham) are going through issues over Eileen's frustrations towards a barking dog next door.

A young shy man named Franklyn (David Fahm), whom Nadia sort of knows, is trying to live alone while Molly's husband Eddie (John Simm) is dealing with the upcoming birth of his first child as he finds himself unhappy with his job. It's Saturday where Dan takes Jack for the weekend while Debbie is at work where things don't go well due to Dan's lack of attentiveness towards Jack. Molly learns that Eddie has quit his job as he wanders around London as she becomes very emotional over what is going on. Notably as Nadia's date with Tim doesn't go well while her parents' marriage is falling apart after Bill decides to spend a day with Eileen's friend Donna. With Eddie still gone, Nadia and Debbie try to comfort Molly while Nadia's bad date with Tim has her thinking about an encounter with Dan. Jack is suddenly missing where the family comes together despite all of the turmoil that is happening.

While family life isn't always easy and at times, very lonely. Director Michael Winterbottom chooses to convey realism in a documentary-like fashion in his approach to the film. The theme of the film is indeed loneliness and the urge to connect with people. A family as unique as the ones in this film are portrayed with sympathy and complexity. They don't make the right choices sometimes and they let things get in the way.

Yet, Winterbottom lets the audience to relate to the characters and get to know them in the film's first act. The structure of the screenplay is set on a weekend where the Thursday-Friday segment reveals on who these people are and how they're dealing with everyday stuff. The second act reveals more of those troubles and alienation and this is where the story really begins. By the third act, we see everyone be more human as well as secrets into why this family who aren't often together trying to seek some form of happiness.

It's Winterbottom's direction that really brings life to the film. He observes every moment captured on film. Whether it's Franklyn wanting to get the attention of Nadia, Nadia seeking love, or Eddie struggling with the arrival of a child and a huge responsibility that comes with it.

It's in that direction, that is almost similar to the improvisation styles of both Britain's Mike Leigh and the late American director Robert Altman, where the audience get to see these characters and how they're connected in some way. Even the shots of London reminds the audience of where they are and how vast this city is where people try to find something and as big as it is, it's also easy to feel very lonely there. Winterbottom surpasses the expectations of what is needed in a family drama or an ensemble drama. He chooses to capture a moment, even when audiences know it's going to be happy or sad.

Helping Winterbottom in his documentary-like vision is cinematographer Sean Bobbitt. Using 16mm film and with low light, the film has a grainy yet homemade feel that adds not just a sense of realism but also style as if the audience themselves are immersed in the moments. Bobbitt's photography is exquisite in its authenticity that includes for the fact that all the camera work is hand-held. Production designer Mark Tildesley helps create the look of working-class London with its array of appliances and such along with the pictures and posters that surround Franklyn's room. Costume designer Natalie Ward also adds to the look of the working-class by not choosing anything flashy or expensive but rather the clothes that everyday people wear.

Editor Trevor Waite brings a lot of style to the film's editing with some wonderful speed sequences to convey the energy and loneliness of the characters while slowing things down at times. With uses of jump-cuts and perspective cuts, the editing is stylized yet works to convey the drama and observation of Winterbottom's direction. Sound editors Louis Bertini and Ian Wilson help capture the feel of London with natural sounds and a feel from the fireworks and the noises that the audience can feel right at home.

The film's soundtrack features cuts by acts like Pulp, Massive Attack, James, Faithless, the Jam, Ali, Alisha's Attic, and Dusty Springfield. The songs in the film are often played in the background on a radio or something just to give it a feel of realism or as someone's personal soundtrack. A lot of the music is performed by composer Michael Nyman. Nyman's score is really a highlight of the film. Nyman adds a somber yet delicate touch to some of the film's piano cuts to convey the loneliness and struggles of everyday life. Then there's his orchestral work with is filled with huge arrangements and power that isn't manipulative or overdone. It's very real and also emotional to convey where the characters are at the point of the story. If there's anyone other than Winterbottom that should be commended for his work, it's Michael Nyman.

Then there's the film's wonderful ensemble cast features memorable small performances from Sarah-Jane Potts as Darren's girlfriend Melanie, Ellen Thomas as Franklyn's frustrated but caring mother Donna, and Ian Hart as Jack's irresponsible, pub-going father Dan. Peter Marfleet is great as the neglected Jack who is forced to fend for himself when his own father isn't doing a lot while having to grow up quickly that his parents aren't always there despite the fact that they along with his immediate family do care for him.

Enzo Cilenti is also good as Darren, the son who is estranged from the family as he spends the weekend with his girlfriend though is desperate to reconnect with the family he left. Stuart Townshend is also in fine form as a flirtatious photographer who seems to be the right guy for Nadia but is also very shady in his own intentions. David Fahm is excellent as the shy, lonely Franklyn who often hides in his own room while often seeing Nadia from afar as he tries to find the courage to speak to her.

Kika Markham is excellent as Eileen, a frustrated, agitated woman who seems to find fault in a lot of things while dealing with a barking dog next door. Jack Shepherd is also excellent as Bill, who seems to be overwhelmed in his rocky marriage as well as being the only man in the house. Shepherd's performance is amazing for how he tries to deal with all the turmoil as well as his wife's own cruelty. John Simm is great as Eddie who is trying to deal with the new changes in his life while wandering London looking for some answers about his upcoming new role as a father.

Molly Parker is amazing as the pregnant Molly who is anxious awaiting for her new child but when she learns Eddie quits his job and disappears, Parker's performance is amazing in reveal her sadness and anger. Shirley Henderson is also great as the eldest yet irresponsible Debbie who is more interested in sleeping with other man than taking care of her own son. When Jack gets lost, Henderson reveals the depth of her performance as she realizes her own faults and such. Gina McKee is also great in her role as the youngest sister Nadia who seeks companionship with men only to find disappointments and heartbreak while dealing with her own role as a sister, aunt, and daughter.

Wonderland is a powerful yet very complex family-ensemble drama from Michael Winterbottom. The film is among one of Winterbottom's finest films as well as a truly intricate and compelling portrait of a dysfunctional family told with many layers by screenwriter Laurence Coriat. Featuring a truly outstanding ensemble cast, it is truly one of the great films of the 1990s as Wonderland is an engrossing yet hypnotic film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - Genova - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2012