URGH! A Music War

(UK 1982)

I really don’t expect Derek Burbidge’s rather pedestrian and no-frills URGH! A Music War to move all that many people — only those who landed somewhere between puberty and college during the early Eighties. This movie, a paean to punk, reggae, and new wave bands, reads like a playlist from the early days of MTV. It’s comprised of nothing but live performances, starting and ending with The Police.

Performances are in the following order:

The Police – “Driven to Tears”
Wall of Voodoo – “Back in Flesh”
Toyah Willcox – “Danced”
John Cooper Clarke – “Health Fanatic”
Orchestral Manoeuvres in the Dark – “Enola Gay”
Chelsea – “I’m on Fire”
Oingo Boingo – “Ain’t This the Life”
Echo & the Bunnymen – “The Puppet”
Jools Holland – “Foolish I Know”
XTC – “Respectable Street”
Klaus Nomi – “Total Eclipse”
Athletico Spizz 80 – “Clocks are Big; Machines are Heavy/Where’s Captain Kirk?”
The Go-Go’s – “We Got the Beat”
Dead Kennedys – “Bleed for Me”
Steel Pulse – “Ku Klux Klan”
Gary Numan – “Down in the Park”
Joan Jett and the Blackhearts – “Bad Reputation”
Magazine – “Model Worker”
Surf Punks – “My Beach”
The Members – “Offshore Banking Business”
Au Pairs – “Come Again”
The Cramps – “Tear It Up”
Invisible Sex – “Valium”
Pere Ubu – “Birdies”
Devo – “Uncontrollable Urge”
The Alley Cats – “Nothing Means Nothing Anymore”
John Otway – “Cheryl’s Going Home”
Gang of Four – “He’d Send in the Army”
999 – “Homicide”
The Fleshtones – “Shadowline”
X – “Beyond and Back”
Skafish – “Sign of the Cross”
Splodgenessabounds – “Two Little Boys”
UB40 – “Madame Medusa”
The Police – “Roxanne”
The Police – “So Lonely”

Generally speaking, concert films are as good as the band performing — unless you’ve never seen them. URGH! A Music War moved me because I know almost every band here but I had a chance to see only four of them live. I’ll let you figure out which four.

I came a little during The Police, OMD (called simply Orchestral Manoeuvres at this point, something I never knew), Echo, Klaus Nomi (fabulous!), The Go-Go’s, Dead Kennedys, Gary Numan, Joan Jett , Surf Punks (yum!), The Cramps, and yes, Devo. How the fuck did I miss Invisible Sex and Au Pairs all these years?

Bonus: The 35mm print screened was scratchy and scrappy and worked with the 50ish audience. I wish I had my Docs…

With Wall of Voodoo, Stan Ridgway, Marc Moreland, Chas T. Gray, Bruce Moreland, Joe Nanini, Toyah Willcox, Joel Bogen, Pete Bush, Charlie Francis, Steve Bray, John Cooper Clarke, Orchestral Manoeuvres in the Dark, OMD, Paul Humphreys, Andy McCluskey, David A. Hughes, Malcolm Holmes, Chelsea, Gene October, Barry Smith, Steve Ace, Mike Howell, Chris Bashford, Oingo Boingo, Danny Elfman, Steve Bartek, Sam Phipps, Dale Turner, Richard Gibbs, Leon Scheorman, Kerry Hatch, David Eagle, Echo & The Bunnymen, Will Sergeant, Ian McCulloch, Les Pattinson, Pete DeFreitas, Jools Holland, XTC, Andy Partridge, Terry Chambers, Colin Moulding, Dave Gregory, Klaus Nomi, Julie Berger, April Lang, Jon Cobert, Rick Pascual, Daniel Elfassy, Scott Woody, Athletico Spizz 80, Spizz, Jim Solar, C.P. Snare, Mark Coalfield, Dave Scott, The Go-Go’s, Belinda Carlisle, Jane Wiedlin, Margot Olaverra, Gina Schock, Charlotte Caffey, Steel Pulse, David Hinds, Selwyn Brown, Steve Nisbett, Phonso Martin, Basil Gabbidon, Gary Numan, Russell Bell, Paul Gardener, Roger Mason, Ced Sharpley, Chris Rime, Joan Jett, Lee Crystal, Howard Devoto, Magazine, Barry Adamson, John Doyle, Robin Simon, Dave Formula, Surf Punks, Dennis Dragon, Drew Steele, Ray Ban , Mark the Shark, Bill Dale, Andrew Jackson , The Members, Nicky Tesco, Chris Payne, J.C. Mainman, Nigel Bennett, Adrian Lilywhite, Au Pairs, Lesley Woods, Paul Foad, Jane Munro, Pete Hammond, The Cramps, Lux Interior, Nick Knox, Julien Griensnatch, Poison Ivy Rorschach, 999, Dave Allen, Gang of Four, The Alley Cats, Astro, UB40, Jello Biafra, Dead Kennedys, Steve Bodon, John Otway, D.J. Bonebrake, X, Ken Bronowski , Skafish, Jim Brown, Hugo Burnham, Ali Campbell, Robin Campbell, Bob Casale, Devo, Jerry Casale, Nick Cash, Exene Cervenka, Dianne Chai, Stewart Copeland, The Police, Javier Cruz, Guy Days, Devo, John Doe, Earl Falconer, The Fleshtones, Klaus Flouride, Mark Freeman, Andy Gill, Barbie Goodrich, Norman Hassan, Jon King, Scott Krauss, Pere Ubu, Pablo LaBritain, Tony Maimone, John McCarthy, Bill Milhizer, Mark Mothersbaugh, Robert Mothersbaugh, Alan Myers, Larry Mysliewiec, Alan Ofter, John Otway, Jan Marek Pakulski , Allen Ravenstine, East Bay Ray, Jim Skafish, Bruce Slesinger, Sting, Randy Stodola, Keith Streng, Andy Summers, David Thomas, Mayo Thompson, Brian Travers, Michael Virtue, Jon Watson, Peter Zaremba, Billy Zoom

Production: Lorimar Productions

Distribution: Filmways Pictures (USA), Pan-Canadian Film Distributors (Canada), Roadshow Film Distributors (Australia), Adams Filmi (Finland)

105 minutes
Rated PG

(Music Box) B-

Chicago Film Society

 

Truth or Dare [In Bed with Madonna]

(USA 1991)

“I do not endorse a way of life but describe one, and the audience is left to make its own decisions and judgments.”

“Even when I feel like shit, they still love me.”

“Yeah. It ain’t all fucking hunky-dory.”

“I know I’m not the best singer and I know I’m not the best dancer, but I’m not interested in that. I’m interested in pushing people’s buttons, in being provocative and in being political.”

—Madonna

In Richard Linklater’s Slacker—released the same year—an Austin, Texas, townie (Teresa Taylor) hocks a jar she claims is a “Madonna pap smear,” talking it up as an item “closer to the rock god than just a poster.” Up close and personal, that’s essentially what Truth or Dare is: a Madonna pap smear, figuratively speaking.

Truth or Dare is Madonna showing us all how cool she is. It encapsulates an exceptionally interesting time—the best time for her to do something like this, as proven by her later tour documentary, the painfully dull I’m Going to Tell You a Secret, in 2006. Certainly no run of the mill performer, it’s only fitting that Truth or Dare is no run of the mill concert film. Shot at the zenith of her career during the Blond Ambition Tour in 1990—a banner year for an artist with a long track record of controversy and success—Madonna allows director Alek Keshishian unprecedented (though not complete) access behind the scenes, and he in turn gives viewers a lot of juicy nuggets to feast on. For fans, Keshishian shows that Madonna really is—or was—all that, and more: she’s snappy, saucy, snide, mischievous, rebellious, witty, tough, and through it all ridiculosly entertaining (and I imagine a lot of fun if you’re on her good side).

The live stuff is superb. Keshishian picks all the showstoppers from Madonna’s most iconic tour: “Express Yourself,” “Holiday,” “Vogue,” a what-the-fuck version of “Like a Virgin” inspired by an ancient Egyptian orgy, and my favorite despite its unfortunate truncation, a Bob Fosse meets A Clockwork Orange take on “Keep it Together.” Views from both the floor and onstage present the show in all its over-the-top glory. Using color in an otherwise black and white film makes the live pieces all the more special.

The backstage shots on tour—the nightly prayers, the stress and snafus, the post show parties—are even better. The shade Madonna thows at other celebrities—Oprah Winfrey, Belinda Carlisle, Zsa Zsa Gabor, and of course Kevin Costner—is uncalled for but hilarious, sometimes uncomfortably so. Personal events like her spat with Warren Beatty before the Dick Tracy opening in Orlando (she calls him an “asshole”), a phone call with her father to arrange tickets for a show in Detroit, meeting a childhood friend, even attending Pedro Almodóvar’s party in Madrid all uncover multiple sides of Madonna.

But Keshishian goes deeper (and deeper): for every cringeworthy contrived scene that rings hollow—like visiting the cemetery to see her mother’s grave—is an honest one revealing the flawed and complicated person Madonna is. My favorite moments in Truth or Dare are the small events that show her human side. She’s generous with her dancers and her family—the scene where she sings “Happy Birthday” to her father onstage is precious. Her conversation with Sandra Bernhard where she admits she’s bored is illuminating and oddly relatable. I still find her comment that “everyone talks about how fame changes a person, but they never talk about how fame changes the people around them” her most poignant statement—and Keshishian demonstrates what she means. Often, Madonna doesn’t have it all under control: it rains on the Asian leg of her outdoor tour, her headset keeps shorting out during a concert, the police pop up to arrest her at her show in Toronto, her brother Martin doesn’t show up at her hotel suite when he’s supposed to, her throat gives out, a member of her entourage is drugged and assaulted, a dancer (Oliver Crumes) goes AWOL. These scenes stand out because they reveal a lot about how Madonna handles tough situations—and she’s not always good at it. Moreover, she doesn’t have everything she wants: phone messages, Antonio Banderas, Slam and Gabriel, to name a few.

Madonna has admitted she was shady and a horribe brat in Truth or Dare (http://www.ew.com/article/2015/08/07/madonna-truth-or-dare). What makes it richer and more thorough, though, is that the focus is not solely on her. Madonna’s dancers are given ample space to show who they are and let some of their stories come out. Bringing out their homosexuality, especially during the age of AIDS, is a bold move that points to the topics and issues that clearly color(ed) her work. Truth or Dare got me to see Madonna more as a performance artist than a pop star.

There are loads of truly fun moments here. Plus, we get to see a flash of her boobs. In the end, Madonna shows us a good time but still leaves us asking, who’s that girl? It’s a strategy that’s served her well throughout her career.

120 minutes
Rated R

(Home via iTunes) A-

http://www.miramax.com/movie/madonna-truth-or-dare/