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Attitude, anger, anti-art, personal agression on society values is only a tip of the iceberg description of these singular films that can only be described as PUNK.
Personal note: I might as well call this list 'All about Cox', no pun.
If anyone was closer to the punk persona, it was Derek Jarman. He brought genre splicing to its knese with Queen Elizabeth the first and her thirst for knowledge summons angel Ariel, to show her England of the future. Jarman brings fourth a post apocoliptic fairy tale of a girl punk gang whose soul purpose was to wipe out the individuals of mediocrity and conformity standing close to their ultimate demise, emotions. A Thatcher-era avant-garde experiment devilishly smeared with sinister megalomaniacs, fascist police, church orgies, and pure chaos Jarman's hellish tune of anger and lost youth focuses a all knowing hypocrisy that rules over our feign illusion of liberation when revolution becomes marketable.
Even a punk can see that a repo man life is truly intense,or at least not too different with the emergence of L.A. hardcore punk of the 80's. Alex Cox's throttle scream blends the styles in his own way centered around a L.A. punk's brutal and bizarre experience becoming arepo man; not to mention a mysterious Chevy Malibu that harbors a Eerie secret. A dirty tasteful tip of the hat to Aldrich's "Kiss Me Deadly", Cox's regan-era riot satire of punk politics and american identity throws a wicked wrench into the notion of freedom of choice as another invisible prison.
You might not see this film as a punk film persay, but with another look Alex Cox's unsettling and macabre jorneys of a early american multi talented politician and his band of "immortals" that travel to Nicaragua to establish democracy has the attitude and angst as punk. You can't forget a contrasting score done by Joe Strummer. Cox's peckinpah-esq inferno play on violence and the insidious nature of modern American idealism stands patrioticly absurd as its ending
Love and punk scarcely is ever seen in the same room, but these two created the breach that would only last a short period of time and remembered forever. Alex Cox brandished a surreal and savage scream of legendary bassist Sid Vicious and his tumultuous relationship with Nancy Spungen as both descend into a brutal spiral of violence, addiction and media corruption. Cox's sympathetic and engrosing satire of political decline as well as a anti-hero punk style Bonnie and Clyde not only capturing a mad rendering of punk identity and its inevitable path toward mainstream culture, but a intimate scope of Sid and Nancy's challenging innocencee. A fierce statement that punk never dies while there still exists love for it.
Youth is an abrasive existence. Which is why punk hits such a high note in nihilism. The burden of political and economic change vs conscience. But is it really a statement or just fashion? Take Jimmy, a rebellious teenager growing up in late 60's London spellbound by rock n' roll leads him to a mod riding, drug fuled, sex driven journey that would only lead him to the edge of isolation and self-awareness. Based on The Who's classic album Franc Roddam's rebel with a cause ignites the style of neorealism to a angry and angst behind the eyes of culture, conformity, transgressive and lost adolescene, while youth is at its most vulnerable. At the other end of this brash tale is a almost preminisive welcome mat to Punk's birth and rock's untimate decent into mainstream.