TELSTAR

UK, 2008, 119 minutes, Colour.
Con O’ Neill, Pam Ferris, Kevin Spacey, J.J. Feild, James Corden, Tom Burke, Ralf Little, Sid Mitchell, Nick Moran, Rita Tushingham, John Leyton.
Directed by Nick Moran.

Older audiences will recognise the music hit of the early 1960s (at the time of the launch of the first entertainment satellite, Telstar). Others will recognise the tune when they hear it.

We are in 1961 and entrepreneur, Joe Meek, has rented an upstairs flat over a handbag and leather goods shop and turned it into a recording studio. The group that he calls on for backup are OK but clash with him. Geoff Goddard, a shyly awkward man, has written a song that could become a hit and John Leyton from TVs Biggles is about to record it. The backup singer is practising in the bathroom and the landlady is upset about the noise, the disturbance to the neighbours and the black ooze on the roof from the soundproofing. Not an auspicious start. The money partner is the stiff upper lip Major Banks.

Actor turned writer and director, Nick Moran, first wrote Telstar for the theatre. You can tell from the restricted locations and the emphasis on dialogue. However, this gives the film a dramatic strength, confining the audience to the limited spaces in the upstairs rooms and focusing on the difficulties of the experience and their effect on the characters. The action does move out at times but, by and large, there we are in Joe Meek's limited kingdom.

While there is some interesting background to the music scene of the time, from Billy Fury to the emerging Cliff Richard, Meek dismisses the Mersey sound and misses out on The Beattles, though, at one stage, the Rolling Stones are a supporting group for one of his acts. The theme for Telstar came to Meek in his sleep. It topped the charts in the UK with sales of over two million and eventually topped the US charts.

For those not in the know about London in the first half of the sixties or about this music world, the film is still worth seeing for the performances and for the drama of Joe Meek's mess of a life.

Con O' Neill portrayed Meek on stage and reprises his role to great effect and intensity. He certainly brings Meek and his moods and contradictions to life. The supporting cast has some standout performances – or, perhaps not 'standout' because they seem so right and fit in unobtrusively. Tom Burke as the shy composer Goddard is most persuasive as is JJ Field as the concocted singer, Heinz. Pam Ferris is good as Violet Shenton, the owner of the shop. Kevin Spacey sporting wig and moustache and a voice and accent straight out of the British war movies of the 1950s and 1960s is Major Banks.

Meek had potential and, in fact, influenced the recording industry of his times and later. However, he was a man of demands, expectations and moods, fickle in his loyalties and growing more paranoid over the years, fearing spies and making his staff and artists swear an oath of loyalty to him. He was also conflicted sexually which caused great emotional and legal strain at that period.

The film opens up the era and offers solid drama and characterisations.

1.The film as a musical? As biography? As the UK in the 1960s?

2.Audience knowledge of the characters, of Joe Meek, of the songs, of the artists?

3.The musical score, the range of songs, lyrics, performance, the different bands? The title?

4.The period, 1961-67, in the UK, in London? The music scene, rock ‘n roll, Cliff Richard, Billy Fury? The number of bands? Brian Epstein and the emergence of The Beatles? The indication of the Rolling Stone and their supporting performance?

5.The studio, the stage origins of the film, confined in the building, the upstairs and downstairs, the rooms? The glimpses of the street outside, the woods, the parks and toilets?

6.A dialogue-driven film, the stage origins, the strength of the language?

7.Joe Meek, his age, background, devotion to his mother? His talent for spotting talent? His music, the setting up of the studio in the suburbs? Geoff Goddard and his lyrics? The music? The small band, the singers rehearsing in the house? John Leyton and his reputation, in television’s Biggles, a celebrity? Their waiting for him to come, his performance of the song? The atmosphere in the house? The characters, their dedication, Joe and his talent for production?

8.Mrs Shenton, her being the owner of the house, managing the shop, her customers and their being disturbed by the music and sound, her concern, the rubber oozing through the roof, the soundproofing? Joe and his ability to sweet talk her? Meeting John Leyton and enjoying it? The neighbour and the noise? Her helping Joe, the issue of the rent? Having to sell the business, the estate agent?

9.Geoff Goddard, quiet, in awe of Joe Meek, the meeting, the composing, his lyrics? John Leyton performing his song? Composing the song for Heinz? His shyness – and Joe getting rid of him?

10.The members of the band, their reactions, jokes, playing, members leaving, new members coming, their exasperation, the long hours, wanting to get away, the different performances, their making up the different bands? Clem Catini and his skills, his cheeky attitude towards Joe, Joe dominating him?

11.The major, his background, clipped manner, the wig, finance, his being a partner? His intervening, the discussions with Joe, expenses and accounts? The success, the later clash, the documents and Joe buying him out?

12.Heinz, his arrival, wanting an audition, recommended by a friend? Joe and his looking at him? His decision to help him? Pushing him? Spending the money, trying to make him a celebrity, the photo calls? Heinz as a character, weak? His relationship with Joe, sexual? His girlfriend, the boat? Singing and the people booing him? His anger? Spoilt, wanting his money from Joe, the final clash?

13.The background of the occult, Geoff Goddard and his interest in séances, the visualising of séances, Joe and the prediction to Buddy Holly about death, February 3rd, the visualising of the dreams, going to the medium? Dreaming of the music of Telstar, its success?

14.Telstar, being launched, the satellite in space, for communication, for television? The tune, its success? Double gold in England? The Novello award? Top in the US? The French composer bringing the case against Joe, the lack of finance? The case falling through after Joe’s death?

15.Joe and his sexuality, the pickups in the park, the undercover police and his arrest? In the papers, wondering about his mother? His relationship with Heinz? Other men?

16.His becoming more paranoid, physically destructive, the people having to take an oath of loyalty to them, their reactions, his continual violence? Buying out the major? His clashes with the major, with Heinz? Patrick being appointed to help Joe, their relationship, his work, loyalty to Joe?

17.The violence, Mrs Shenton and her discussions, Joe and his paranoia, shooting her? Patrick and his shock? Joe killing himself?

18.The information as to what happened to the various characters – Jess Conrad and John Leyton appearing in the film themselves? Clem Catini giving musical advice and playing for the film? The success of so many of the other characters? A memoir of a strange period in British music? The irony of Joe’s lack of ability to recognise The Beatles and their success?