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DIRECTED BY: Derek Jarman
FEATURING: Jenny Runacre, Jordan, , Nell Campbell (as Little Nell), Jack Birkett, Richard O’Brien
PLOT: Queen Elizabeth I requests her court sorcerer to summon the spirit Ariel to show her Britain’s future, and witnesses a bleak vision of apocalyptic decay.
COMMENTS: An occasionally brilliant and often muddled mess of an artwork, Derek Jarman’s Jubilee lurks in a strange netherworld of identification. This is, admittedly, a typical “problem” for the movies that end up on the shores of this weird internet isle of ours, and it is a credit, in a way, to Jarman’s particular particularity that his movies tend to be both too weird to be arty while also being too arty to be weird. It’s a strange categorization, to be sure, and the call I made in not considering Jubilee Apocrypha-worthy was a tough one.
Jubilee is an Elizabethan period piece that flashes forward to then-contemporary 1970s London, which was in economic doldrums and still riddled with bombed-out, clapped-out, and otherwise derelict streets and homes. The narrative seems full of plot holes, but that fits nicely with the punk aesthetic that Jarman was, depending upon your perspective, either cynically celebrating or subtly satirizing. Clothes full of holes, ‘zine literature smashed together from ripped-up sources, and even punk’s musical style: all of it was intended to reflect decay, despair, and anger. These elements dovetail in Jubilee as we watch a loose gang of nihilistic young women spend their time breaking things and people, all while incongruously sucking up to the mysterious, flamboyant, and giggle-prone one-man superpower, “Borgia Ginz,” a music and media mogul.
The tone of Jubilee veers in as many directions as the scattershot narrative. There’s a heartwarming (if controversial) romance between two men (who are possibly brothers; the explanation is neither clear nor reliable), who eventually allow a young female artist into their relationship. But there’s also malignance. “Bod” and “Mad” (two of the girl gang members, possibly lovers) wantonly harass and then beat up a diner waitress early in the film, and then continue this cruel streak throughout. “Amyl Nitrate”, played by Punk-era icon Jordan, oscillates between petulant monologues (in the form of her world history she’s writing) and tender gestures with “Crabs” (Little Nell, whose status as the most convincing actor in the movie is saying something). And of course, what 1978 anarchic-socio-commentary-guerilla film would be complete without a young Adam Ant (then something of a nobody) as the latest protégé of Jack Birkett’s other-worldly, hyper-energized Borgia Ginz?
Derek Jarman was an artist of considerable talent: be it in the world of painting, production design, or direction. He was also someone to whom no friend or overseer (if there were any) could say “no.” While this allowed for a far more interesting oeuvre than might have existed otherwise, it was also to that oeuvre’s occasional detriment. What could have a tighter, tidier Jubilee looked like? I know, I know: I just lamented a lack of tightness and tidiness in a punk movie about the punk ethos, so perhaps I’m missing the point. But bearing that in mind, even I couldn’t help but be impressed with this glorious mess of style, pathos, music, and philosophy.
WHAT THE CRITICS SAY:
“Jubilee might be most appreciated by those who are able to embrace its cult movie aspects. Its enigmas and failings may not always be as compelling or as endearing as those found in the best-known cult films but some of Jubilee‘s idiosyncratic content does work to position the film squarely within the wild terrain of the cult film corpus.”–Lee Broughton, Pop Matters (Blu-ray)