Dir. John Dower, 2002, UK, 82 mins Cast:
Damon Albarn, Jarvis Cocker, Lian Gallagher, Noel Gallagher
Snapping at the heels of Michael Winterbottom's homage to the Madchester scene and the temple that was The Hacienda, Live Forever, the new documentary from director John Dower and producer John Battsek (who also produced the Academy Award winning One Day in September), serves as a companion piece to the brilliantly funny, evocative and often poignant 24 Hour Party People.
Live Forever charts the rise of Britpop in 1991 to its fall in 1997. The film shows this in a historical context and structured manner, highlighting its peaks and troughs along with how it coincided with other events taking place in Britain at that time.
The film begins in 1991, as the Stone Roses kick off Britpop playing huge open-air gigs. This triggers off bands like Oasis, Blur and Pulp (the "Holy Trinity of Britpop" according to Dower). There is a lengthy tussle between American grunge and Britpop bands, which the British bands win after the American invasion comes to a brutal halt signified with the death of Kurt Cobain. Britpop, however, will probably be best remembered with the battle in 1995 between Britpop heavyweights, Oasis and Blur when they release singles on the same day. Over the next few years, Oasis win the battle. Pulp are also at the top of their powers and their single 'Common People' is said to 'encapsulate the Britpop aesthetic'. "Oh dear" is Jarvis Cocker's reaction upon hearing this.
The film enters a new phase with Tony Blair and New Labour beginning their run and we see how the new government exploits the wave of Britpop for its own ends. Damon Albarn and Jarvis Cocker especially recognise this. There is a sense of sadness and disappointment as Britpop goes into retreat. Pulp and Blur release the downbeat 'This is Hardcore' and '13' respectively, while Oasis bring out 'Be Here Now'- a huge critical and commercial flop, even by Noel Gallagher's admission.
Then in 1997, Princess Diana dies, Robbie Williams brings out 'Angels' at exactly the right time and Britpop is over. Britpop's fate is sealed over the next few years with shows like Pop Idol, Popstars and the S Club Juniors appearing to create manufactured bands who were nothing more than a bunch of pretty puppets.
The best thing about Britpop was undoubtedly the music and the film really plays on this and attempts to relive the whole era. The use of music from the time is almost constant and plays over every scene. Another positive aspect of Live Forever is its use of locations. In the early nineties, the ethos changed from 'poor is bad' to 'poor is good'. It was now cool to have no money and be on the dole. The film cites this as one of the reasons why ultimately Oasis triumphed over Blur in the charts and went on to outlive them. Oasis were the working class lads from Manchester while Blur were the middle-class ponces from Colchester.
This point is emphasised with all the interviews taking place in cafe's, pubs, basements and run down hotels. These are pop stars for the people, who go where we go, drink pints of lager and do what normal people do. Other locations include Spike Island, Merseyside, Colchester, Essex, Neepsend, Sheffield, Burnage, Bristol, Manchester and junction 17 of the M5 to give an image of Britain at complete odds to that of 'Cool Britannia'. This was the real Britain.
There is much to admire about Live Forever but the thing that you will walk away with from the film is what Britpop was all about; the music and the personalities behind the music. Here you get both and from many perspectives as well as raising a number of important questions (like, why do most people only own '(What's the Story) Morning Glory' and not 'Definitely Maybe'?). The film really does succeed in bringing back the spirit and atmosphere of the time all those years ago when music wasn't taken up by ten year olds miming to old songs by Madonna.
David Colenutt
|
