The other day was Derek Jarman's birthday. I discovered him last year because I really like independent cinema, particularly from the fringes of society, and his name came up repeatedly. So on a whim, I bought "The Last of England". When BFI described him as a "queer pagan punk" for his birthday, I knew it was time to put that movie on and give it a whirl. It was a wholly unexpected, but mostly pleasurable, experience.
"The Last of England" is a highly personal bitch fest about the state of the country and even the world as it was in the mid 80s. Jarman was English and was reacting to life under the Thatcher rule, while I was an American living under Reagan rule. I think more than anytime before or since, the English and American experiences coincided culturally in the 1980s. Jarman's film was shot in 8mm, shaky cam and all, and is more or less and decoupage of raw emotions and experiences of growing up in the cold war, never knowing when the bombs will drop, and being led by leaders who seem to think such a state of constant anxiety is sane. Add to it, the newly emerging queer revolution and the punk scene, complete with drugs, and life at the time did seem quite precarious.
I loved the odd stream of consciousness, the nightmare visions, the lack of dialog or plot or even characters. Well, OK, I loved about 2/3 of it. The last 15 minutes which was where Tilda Swinton came in with her wedding gown made the least sense to me and could have been cut with no loss (which pains me to say as I admire her, but here she was like an extra at the last moment to add time and a name to the film, which was already quite intriguing). I enjoyed how he merged past with home family videos with present and future. I'm glad to have the film and I will certainly look for more by Jarman, though he is clearly not going to be everyone's cup of tea.
"The Last of England" is a highly personal bitch fest about the state of the country and even the world as it was in the mid 80s. Jarman was English and was reacting to life under the Thatcher rule, while I was an American living under Reagan rule. I think more than anytime before or since, the English and American experiences coincided culturally in the 1980s. Jarman's film was shot in 8mm, shaky cam and all, and is more or less and decoupage of raw emotions and experiences of growing up in the cold war, never knowing when the bombs will drop, and being led by leaders who seem to think such a state of constant anxiety is sane. Add to it, the newly emerging queer revolution and the punk scene, complete with drugs, and life at the time did seem quite precarious.
I loved the odd stream of consciousness, the nightmare visions, the lack of dialog or plot or even characters. Well, OK, I loved about 2/3 of it. The last 15 minutes which was where Tilda Swinton came in with her wedding gown made the least sense to me and could have been cut with no loss (which pains me to say as I admire her, but here she was like an extra at the last moment to add time and a name to the film, which was already quite intriguing). I enjoyed how he merged past with home family videos with present and future. I'm glad to have the film and I will certainly look for more by Jarman, though he is clearly not going to be everyone's cup of tea.