Born to Boogie (Starr, 1972) + Stardust (Apted, 1974): Cinema Museum, 6pm
Cinema Museum introduction:
Lost Reels continues its series of double bills with two quintessential but rarely screened British pop films from the 1970s. British cinema and pop music have long had a symbiotic relationship, and this was never truer than in the 1970s, a decade that saw numerous film/rock star crossover projects and a dramatic musical evolution from glam rock to punk. Rock and Roll, a “16mm” double bill by Lost Reels, showcases two quintessential features from the first half of the decade: Born to Boogie (1972), a concert film / fantasy featuring Marc Bolan and T-Rex directed by Ringo Starr; and Stardust (1974), the rise-and-fall of a Beatle-esque band, directed by Michael Apted featuring real-life musicians David Essex, Adam Faith, Dave Edmunds and Keith Moon.
Chicago Reader review of Born to Boogie:
British glam rocker Marc Bolan and his band T. Rex are captured at the height of their fame in this 1972 concert movie by Ringo Starr. Two shows staged for the film at Wembley stadium yield spirited performances of “Jeepster,” “Baby Strange,” “Telegram Sam,” and “Bang a Gong (Get It On),” punctuated by agreeably silly vignettes reminiscent of Magical Mystery Tour. There’s a rollicking studio jam session with Bolan backed by Starr on drums and Elton John on piano; the oddest segment is a picnic where a butler flips burgers for a table of nuns while Bolan plays an acoustic guitar medley, accompanied by a string quartet. JR Jones
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Time Out review of Stardust:
Enjoyable attempt at the impossible task of reflecting the whole sprawl of '60s British pop through the rise and fall of one rock star. Ray Connolly's script for this sequel to That'll Be the Day functions on numerous levels: as a piece of nostalgia for over 25s; as wish fulfilment for Essex's teenage fans, in which he becomes the greatest rock'n'roll singer in the world; and, God help us, as a would-be art movie, with its central relationship between Essex's singer and roadie Adam Faith more than reminiscent of The Servant. The script is at its best when knocking the stuffing out of the music industry and its myths, less successful when asking us to believe in the fictional achievements of its central character (3,000,000 fans and a Time magazine cover). Best are Adam Faith, Keith Moon's anarchic performance and Dave Edmunds' music. Chris Peachment
Here (and above) is the trailer for Stardust.
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