Jarman's politic importance in 70/80s surpassed, by far, his dimension as a filmmaker, being mostly the strength of his iconoclastic resistance against the hideous Tatcher what most characterized him. I prefer him as a writer while his cinematographic acts seem dated to me, when before seemed poorly structured and/or too constructed on a stereotypical perspective. This film is a mere archaeological piece.
A very amateurish dystopian time travel philosophical punk film centering around the queen of England and dangerous and violent girl gangs in a dilapidated London. Interesting but ultimately too scrappy to be of much worth. There is some cool stuff, particularly the stuff with the queen, her subjects, and the weird black fingernailed guy who teleports them to the degradation of their empires future.
A dystopian England in the 70's. Great actors. Adam Ant looks so good. ''Leave him alone, he's better than a vibrator.'', ''As long as the music's loud enough, we won't hear the world falling apart.'', ''It's party time, let's liberate the zoo.'' The Slits <3 I didn't like the Hindley reference. That's not something you should joke about. It's in bad taste even for a film like this one.
Abrasive, brash, chaotic, confrontational, unrestrained, garish and glorious - the zeitgeist of the Winter of Discontent era inchoate British punk scene. Complete with questionable politics, silly immaturity, and all sorts of tedious posturing. Can't say I much liked it, but I like that I've seen it, and the who's who casting made it fun. 2.5
Although nearly fourty years old this movie didn't lose its provocative impact. It may seem a little bit amateurish in some aspects but this characteristic reinforces - after the discovery of trash as important part of culture - the actual effect. There are many strong sequences, especially when Jarman uses or choreographs music (e.g. the "Rule Britania" parody).
A film very much of its time. I'm of two minds here. On the one hand it's easy to dismiss this as rebellious nonsense and take the no-budget visuals as a sign that Jarman didn't know what he was doing. One the other hand there are really fun and/or thought-provoking scenes here. I would even argue that the media critique is just as relevant in 2015. In any event, I'm glad I got to see this one.
The politics may have dated, but that's what happens when punk died but the world around it didn't die with it. Jubilee is still a heady brew that frustrates but is successful in its abrasiveness. Thankfully Greg Araki and The Doom Generation covered the nineties in the same mindset as this and covered the gap after punk vanished.