PRIVILEGE

UK, 1967, 103 minutes, Colour.
Paul Jones, Jean Shrimpton, Mark London, Max Bacon, Jeremy Child, James Cossins, Victor Henry.
Directed by Peter Watkins.

Privilege has a screenplay by Norman Bogner based on a story by Johnny Speight, author of Till Death Do Us Part and other satiric television series. Peter Watkins added dialogue and it is very much a Peter Watkins film. He worked in television in the '60s and made his mark with The War Game, and indictment of the use of nuclear weapons made for the B.B.C. but banned and then shown theatrically. He was later to make a film about fascism called Evening Land and a study biography of the Norwegian artist Edward Munch.

Privilege is his most commercial film. It received mixed reviews in the mid 1960s when first released. It was partly science fiction and partly social comment. It took up a theme, more striking because of the emergence of the Beatles in the early '60s of the pop singer having enormous influence in the world and being used by unscrupulous government. Ideas like this formed the staple of a lot of satires and black comedies of the '70s and Privilege probably is more appreciated in later times than it was on first release. However, it also appears comparatively unsophisticated in comparison with later treatments of such themes.

Watkins uses his television technique for this film and resorts often to an impersonal objective commentary about events and the significance of what is being seen by the audience. He used it in his other films. His casting is also unusual: pop singer Paul Jones as the star seems credible enough. Model Jean Shrimpton is the leading lady. She relies rather on the Kim Novak style of acting, quiet articulation and intense looks. She does provide glamour. The rest of the English cast gives strength to the film. There are some interesting stagings of the pop star's music, especially the opening act which highlights violence and the star is handcuffed, beaten up and caged by the police.

There is a later satiric pseudo-religious presentation by the star. (This is very much Ken Russell material and is reminiscent of his treatment of similar themes in Tommy.) The film highlights a lot of the thinking in Britain in the '60s with Britain's decline, the rise of pop stars and the social state. Privilege is uneven but is well worth looking at and reflecting on.

1. Peter Watkins and his work? Television background? Documentary? His non commercial emphases? His interest in social questions, England in the '60s? Satire and parody? Strong reaction? His didactic style, tone, voiceover and comment?

2. The colour photography, the English locations? The background of the pop music world? Big business? Religion? A look at the future in the context and style of the present?

3. The musical score, authentic, satiric? The songs? The importance of the long prison sequence at the beginning with its musical style? Sadism and violence? The later religious concert? The swinging 'Onward Christian Soldiers'? The other songs? The importance of the reaction of youth, adults? The clergy and hierarchy for religious songs?

4. The significance of the title? Steve Shorter and his privileges? The explanation given at the end? The response to the word 'privilege'? In comparison with whom? British government and its privilege? Steve's managers and business executives and their use and abuse of privilege? Steve eventually accused of abusing privilege? Deprived of his privileges? The word and theme for anticipating the future totalitarian society?

5. The narrative style of the commentary, the giving of information, the interview technique? The intrusion into the flow of the screenplay? The ironic comments along with the objective tone? What did the narrative and the interview material contribute to audience response to themes, characters, message? The film as a social and political allegory of Britain in the '60s? The overtones of science fiction, manipulated society? The blend of pop science fiction attitudes and techniques with political and social commentary and documentary style? How persuasive was the parable?

7. Paul Jones as Steve Shorter? The relationship of Jones' career to the character portrayed? The film's highlighting of his particular talent? Seeing him in action on stage, communication with fans, control and manipulation? Singing, acting? His being feted by the fans and by authorities? His ways of being used? The totalitarian way in which an allegedly democratic government used him? The background of fascism and echoes of films about Hitler and other dictators? Mass hysteria and response? His personality and lack of personality? The sexual implications in his stage persona? His sublimating the aggressions of his fans? The nature of the gimmicks, the act, poses? The interrelationship of art, entertainment and politics? The intrusion of big business? The
commercialisation of the idol? The exploitation of the fan clubs?

8. The picture of England in the future - throwing light on England of the 160s? Subsequent decades? The criticism of English society? The place of the mindless masses? Manipulative government? The using 6f stars for political control?

9. The introduction of Vanessa, Jean Shrimpton and her acting style, presence? Her painting Steve's portrait? His posing? The gradual getting to know one another? Discussions? The human element in Steve's life with Vanessa? The tentative beginning of the affair? The change in him and the influence of Vanessa? The quality of her response to Steve and his situation?


10. Steve's entourage, the popular stereotypes from public figures? The e bodyguard and his role? The manager and his business skill: double talk and double deals, manipulation? The music arranger and the artistic clashes? Uncle Julie and the parody of big business? How much realism, how much caricature? Seeing the group in action? Their comment on the role of these people in society?

11. The effect on Steve and his gradual change, his being completely manipulated?

12. The film's comment on religion? In its traditional forms? The Church of England? Its relationship with the state? The use and abuse of relig~ ion? Government manipulating the clergymen? The trendiness of the clergy and the Bishops? The changing of traditional hymns into rock style? The targets of the satire, the effectiveness of the satire? The humour about the updating of religion? The build up to the occasion to unveil the religious side of Steve Shorter? His breaking through his bonds and allegedly becoming free?

13. The build-up to the religious rally? The echoes of Hitler and Nuremberg? The clergy and their sell-out to manipulation? The fans? The manipulative businessmen behind the scenes? Steve and his being the puppet for these groups?

14. Steve and his lack of personality and taking what was dished out to him? The growing encounters with Vanessa? His indecision?

15. What brought about Steve's decision to move away? The assertion of his individuality? His inability to do this well?

16. The build up to his rebellion? The build-up to the reception? Expectations? His reaction and outburst?

17. The authorities suddenly dropping him? The implications for them? For him? The machinelike way in which he was dropped and eliminated?

18. The future for Steve Shorter? The denunciations by church and government? The relationship with Vanessa? The implications of this ending as regards humanity in the future?

19. The film's comment on society and manipulation, government, hysteria? The reason for the ills of society? The nature of freedom, the role of politics and the police? Exploitation of human nature?