Jubilee (1978)

Queen Elizabeth I travels to late twentieth-century Britain to discover a tawdry and depressing landscape where life mostly seems aimless and is anyway held cheap. Three post-punk girls while away their vacuous existence as best they can, from time-to-time straying into murder to relieve the boredom.

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Below is a part of Review from jclarkmedia.com. Full text of Review you can find here.

Criterion page.



Jubilee (1978) is a wildly beautiful film which strikes a precarious, and compelling, balance between sheer anarchy and genuine tenderness. Since first viewing it a week ago – I have since watched it three times – I have found myself frequently talking and writing to friends about it. Yet it remains an elusive film; and after every viewing, it tantalizes with new connections and still more layers of meaning. The Criterion Collection has created a superb DVD release, and included a wealth of archival and original supplements described below.


What is Jubilee about? It begins when Queen Elizabeth I (played with quiet power by Jenny Runacre, who also portrays Bod, whom we will meet in a moment) has her court alchemist, the historical John Dee, summon Ariel. The sloe-eyed spirit with huge hands (whom Jarman describes as having "a glitter punk scintilla") transports all of them 400 years into the future – just beyond our own time – to a dystopic London, which has become a literal wasteland, overrun with violence and decay. Let Jarman summarize Jubilee for you in his own words (culled from various supplements on the DVD):

Law and order has finally been abolished and do-your-own-thing is the order of the day. The church is a strip club [and Buckingham Palace a recording studio]…. Open war between all factions of society. A gang of bike girls centered at H.Q. in Southwark, rape and kill all adversaries, led by the Queen of Punk, Bod [Bodicea]…. The music of groups like The Slits, Sex Pistols plays incessantly to rapturous reception. The film is anarchic and very beautiful.


Jarman has nailed Jubilee: It is simultaneously "anarchic and very beautiful." But perhaps the reasons why this film is so obsession-inducing (at least in me) is because both its "anarchy" and its "beauty" are fascinatingly complex, and merge into each other in so many original and striking ways.

The film has misleadingly been called a "Punk movie." It is much more than that, although the then-nascent movement informs the film in many ways, from music to casting to tone. Punk's heyday was 1975–80, with its two key albums – The Sex Pistols' Never Mind the Bollocks and The Clash's The Clash – both appearing in 1977, the year Jubilee was filmed (coinciding with Queen Elizabeth II's Silver Jubilee). Punk provided a clarion voice for alienated teenagers in its mix of hard-driving rock, socially aware but simple lyrics – that crystalized the mood of anger, powerlessness, and rebellion in the face of a severe economic recession – and a confrontational style which extended from the songs to the fashions of its devotees. Jubilee provides a virtual catalog of the Punk Look, from Mad's (Toyah Willcox in a stunning performance) close-cropped hair dyed Day-Glo orange to angsty graffiti which covers almost every wall to the scrawled quotation from Psycho (which ends "…wouldn't even harm a fly") which fills the back of the jackets worn by the female biker gang. You may recall Hitchcock's final scene, when the strait-jacketed Norman Bates, "possessed" by his dead mother, tells us how harmless he now is (yeah, right): Even a small detail like this resonates, since the tangled connection between gender identity and violence is one of Jarman's key themes.


On a more overtly Punk note, Jarman includes songs by several popular groups, including Siouxsie and the Banshees, Maneaters, Chelsea, Amilcar, and Suzi Pinns – whose high-pitched vocal of "Rule Britannia," together with actress "Jordan's" goose-stepping performance as Amyl Nitrate, provides the film's musical high point (see the first frame at the top of this review). He also puts several Punk icons onscreen, from the group The Slits (who play a street gang), to transgender star Wayne County (who portrays Lounge Lizard, the world's biggest star: We're told he's just sold "50 million copies" in Russian alone of his hit "Paranoia Paradise") to, most importantly, Adam Ant.

Beyond the Punk movement, Jarman turned to film, literature, history, and even 'club culture' to flesh out his vision for Jubilee. Although the picture is powerful on its own terms, without any need for "footnoting," Jarman's wide-ranging use of sources is fascinating, especially because he was equally at home in so many diverse aesthetic worlds. Also, it is through his unique artistry that Jarman is able to combine, and constantly recombine in endless variations, the dual vision of anarchy and beauty and make the film so engrossing, and moving. He is also one of the most creatively playful of modern filmmakers, and that sense of schoolboyish "let's put on a show" energy keeps his films, even with their density of themes, buoyant and genuinely entertaining. It is a tough balancing act which few other filmmakers have been able to master.



Jarman draws still more from the Elizabethan era, while giving it a decidedly Punk inflection. His characters' names recall the allegorical figures in Edmund Spenser's epic-length poem – with characters such as Errour and Braggadocchio – The Faerie Queene (the title refers to Queen Elizabeth; Spenser was also one of Jarman's favorite poets). I found Jarman's own descriptions of his characters suggestive. They reveal not only the scope of his themes but his wonderfully quirky and playful side too. Cheek by jowl with historical and mythical allusions are such artefacts of '70s (and later) dance club culture as "Amyl Nitrate" and "Crabs."



Disc Features:
•New high-definition digital transfer, supervised by director of photography Peter Middleton and enhanced for widescreen televisions
•Original documentary on Jarman and Jubilee made by Jarman actor Spencer Leigh (Caravaggio, The Last of England), featuring interviews with stars Jenny Runacre and Toyah Willcox, film historian Tony Rayns, production designer Christopher Hobbs, and filmmakers John Maybury (Love is the Devil) and Lee Drysdale (Leather Jackets), with rare Super-8 clips and memorabilia from the film
•Ephemera from Derek Jarman’s personal collection, including his scrapbook from the film illustrated with rare photos and notes
•Original trailer
•Liner notes by Jarman biographer Tony Peake
•English subtitles for the deaf and hearing impaired
•Optimal image quality: RSDL dual-layer edition


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