Click on the headline to link to a YouTube film clip of the movie trailer for Pirate Radio.
DVD Review
Pirate Radio, Phillip Seymour Hoffman, directed by Richard Curtis, Focus Film, 2009
First Question: Who put the rock in rock ‘n’ roll? Well, of course, Bo Diddley (okay, okay others too). Second Question: Who brought rock ‘n’ roll to your double-locked bedroom, dank cellar, storage-filled garage, or other secret ear place back in old time battery-operated transistor radio (pre-iPod, alright) days? Well, of course, your local dee-jay who helped you while away your night, your dream-plagued rock ‘n’ roll night, with his (mainly) mile-a-minute-banter, selection of platters (records, pre-CD, DVD, iTune, youtube, you’ve heard about them, right?), and, yes, selected advertising targeted to the newly enriched (maybe) teenager with disposable dollars. Such names as Allan Freed, Wolfman Jack, Murry the K, and Arnie Ginsberg come quickly to mind. And although the music, praise be, outlasted the careers and remembrance of that lot this classic rock period is associated in my mind (and yours too, I bet) with that very dee-jay night. And that, my friends, is the premise behind this very nicely done trip down rock memory land- British version.
In many ways the British 1960s rock explosion paralleled the American classic rock scene, although later than that genre’s American 1950s heyday. The greatest difference, however, is the way that British audiences heard their rock- literally through the pirate radio of the title. Off-shore, out in the ocean depths, white waves splashing against some barnacled old tub of a ship, rock radio. Without getting into the ins and outs of British broadcasting traditions the battle, the age-old battle really, here is between those who wanted to listen to rock and not just in that double-locked bedroom mentioned above, and those nasty governmental officials and their hangers-on who want to outlaw it by shutting down this uncontrolled method. That battle drives the tension and plot line to almost bizarre (by today’s cyberspace standards) ends. But what this film is about is a bunch of guys (mainly, again) who loved to play rock, who loved to present it in their own fashion, and who wanted the fame, fortune (and, incidental sex) that came with heroic dee-jay-dom.
This motley crew is ready to go down with the ship, literally, in order to keep rock freedom alive. Of course there are more than a few gag (British gag, ala Monty Python) scenes that are better left unmentioned but this is a feel good movie with plenty of drugs, sex, and rock and roll on the high seas. Jesus. You might ask what was wrong with that? Ah, come to think of it what was wrong with that? The cast includes Phillip Seymour Hoffman (a very versatile actor when you realize that he also played American novelist Truman Capote in the In Cold Blood execution-driven drama Tru) as the Count, the only American in the lot. But this whole mix of radio personalities is a good out in the seas rock night, late night, early morning and so on. So, here is the drill. Bo (and, yes, others) put the rock in rock ‘n’ roll but the Count and the boys put the bop in the be-bop pirate radio night. See this one.
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