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IMDbPro

Performance

  • 1970
  • R
  • 1h 45m
IMDb RATING
6.7/10
12K
YOUR RATING
Mick Jagger and James Fox in Performance (1970)
Rock superstar Mick Jagger and James Fox star in this stunning reality/fantasy trip set in London's underworld. A desperate, murderous criminal hides out at the private residence of a bizarre rock star (Jagger) and his mysterious and beautiful companion (Anita Pallenberg). Co-directed by Donald Cammell and Nicolas Roeg, Performance remains a gripping, psychological melodrama and cult favorite, as we witness the gangster experience the ready drugs and available sexual pleasures of the rocker's world while he is forced to confront aspects of his personality that have been repressed by his violent tendencies.
Play trailer2:46
1 Video
99+ Photos
GangsterPsychological DramaCrimeDrama

A violent East London gangster undergoes a transformation of identity while hiding from his former colleagues in the home of a jaded Bohemian rock star and his two girlfriends.A violent East London gangster undergoes a transformation of identity while hiding from his former colleagues in the home of a jaded Bohemian rock star and his two girlfriends.A violent East London gangster undergoes a transformation of identity while hiding from his former colleagues in the home of a jaded Bohemian rock star and his two girlfriends.

  • Directors
    • Donald Cammell
    • Nicolas Roeg
  • Writer
    • Donald Cammell
  • Stars
    • James Fox
    • Mick Jagger
    • Anita Pallenberg
  • See production info at IMDbPro
  • IMDb RATING
    6.7/10
    12K
    YOUR RATING
    • Directors
      • Donald Cammell
      • Nicolas Roeg
    • Writer
      • Donald Cammell
    • Stars
      • James Fox
      • Mick Jagger
      • Anita Pallenberg
    • 123User reviews
    • 93Critic reviews
    • 69Metascore
  • See production info at IMDbPro
    • Nominated for 1 BAFTA Award
      • 1 nomination total

    Videos1

    Official Trailer
    Trailer 2:46
    Official Trailer

    Photos180

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    Top cast28

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    James Fox
    James Fox
    • Chas
    Mick Jagger
    Mick Jagger
    • Turner
    Anita Pallenberg
    Anita Pallenberg
    • Pherber
    Michèle Breton
    Michèle Breton
    • Lucy
    • (as Michele Breton)
    Ann Sidney
    • Dana
    John Bindon
    John Bindon
    • Moody
    Stanley Meadows
    Stanley Meadows
    • Rosebloom
    Allan Cuthbertson
    Allan Cuthbertson
    • The Lawyer
    Anthony Morton
    Anthony Morton
    • Dennis
    • (as Antony Morton)
    Johnny Shannon
    Johnny Shannon
    • Harry Flowers
    Anthony Valentine
    Anthony Valentine
    • Joey Maddocks
    Kenneth Colley
    Kenneth Colley
    • Tony Farrell
    • (as Ken Colley)
    John Sterland
    John Sterland
    • The Chauffeur
    Laraine Wickens
    • Lorraine
    Edmond Bennett
    Edmond Bennett
    • Detective Sergeant
    • (uncredited)
    Helen Booth
    • Noel's mum
    • (uncredited)
    John Caesar
    • Ticket Clerk
    • (uncredited)
    Jay Denyer
    • Constable
    • (uncredited)
    • Directors
      • Donald Cammell
      • Nicolas Roeg
    • Writer
      • Donald Cammell
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews123

    6.711.9K
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    Featured reviews

    9gray4

    A great film, well worth the wait

    I missed this film when it came out over thirty years ago, and have looked out for it ever since. At last, after a rare showing on BBC's arts channel, it has proved to be well worth the long wait.

    It is a complex film, starting and finishing as a gripping and violent gangster movie, with the more philosophical and erotic section with Jagger and Pallenberg slotted between the gangster elements. James Fox as gangster on the run is a revelation. Why didn't he get parts like this again? He is far more convincing than his contemporary Michael Caine in this kind of role, with a scary viciousness combined with his 'Jack the Lad' charm.

    Although Mick Jagger and Anita Pallenberg don't seem to be playing anything more than themselves, they are perfect foils for Fox. As they embroil Fox in their weird games, the writers/directors Nicholas Roeg and Donald Cammell create brilliantly the mushroom-based trip that they take him on and through. The film also evokes a fascinating and nostalgic picture of late '60s London and is a reminder that the "swinging sixties" had their grimy and violent side. Overall, a great film that deserves far wider recognition.
    AtillaTanner

    Cammell's masterpiece....not Roeg's

    Reading the various comments posted, I'm saddened to see that Nic Roeg is receiving the credit for this amazing film. Granted, Roeg did provide his always stunning camera work to the film, but it was Donald Cammell who wrote, directed the actors, and edited (along with Frank Mazzola) PERFORMANCE.

    Roeg acted as DP on the film, blocking the camera movements as Cammell worked with the actors. In fact, according to Cammell, they worked so well together that people would comment "...the two director approach is the wave of the future." Cammell also revealed that his admiration for Roeg's work was somewhat tempered by the fact that Roeg was often solely credited for PERFORMANCE, something that just isn't true.

    Don't get me wrong, I think Nic Roeg is a wonderful director and a brilliant DP. DON'T LOOK NOW, THE MAN WHO FELL TO EARTH, and BAD TIMING are some of my favorite films, but PERFORMANCE is Cammell's vision more than Roeg's.

    In fact, given the ironic and tragic life that Cammell led, perhaps it's only fitting that he would be overlooked for his work on PERFORMANCE, which displays his obsessions for Borges, gender/identity, and sexuality.

    Any interest? Seek out DONALD CAMMELL: THE ULTIMATE PERFORMANCE for a fascinating look at this brilliant artist.
    ginger_sonny

    dazzling

    Gangland enforcer James Fox gets involved with decadent fading rock star Mick Jagger in Nicholas Roeg's and Donald Cammell's cult film

    Few films encapsulate drug-crazed Swinging 60s London like this one, though it was only seen three years after it was made and then heavily-edited because Warners were shocked at what they had financed. The film exceeded the boundaries of good taste that always epitomized British cinema.

    This superbly shot, deeply disturbing, complex, often pretentious, often brilliant parable of confused identity was the first feature directed by leading cinematographer Roeg, sharing the credit with artist Cammell.

    An eerily plausible Fox, cast against type, plays Chas, a sadistic gangster on the run who rents a room in the Notting Hill Gate home of Turner (Jagger), a reclusive, sexually ambiguous, washed-up rock star. Fox, his antithesis, is offered women and magic mushrooms before literally swapping personalities with the singer.

    Fox abandoned the cinema for almost a decade after this film, such was its effect on him.



    Verdict A dazzling, ideas-rich, extraordinarily inventive full-stop to the 60s
    ThreeSadTigers

    A tremendous experience; a work of true power and originality

    As the title might suggest, Performance (1970) is a film to be experienced, as opposed to simply endured. At its most basic level, the film can be seen as an experiment into the nature of personality, role-playing, character and the lines between fact and fiction, reality and fantasy; all blurred together by a heady cocktail of sex, drugs and rock n' roll that is representative of the late 60's art-scene that writer and co-director Donald Cammell was very much a part of. For many it will have no doubt become something of a dated relic; a film from the days when East End gangsters were all sharp-suited mother's boys or closeted homosexuals with Jags' and boxing clubs or 60's radicals with beards in bed-sits dropped acid and strummed endless drones about the doors of perception on electric guitars. Others will see it for what it truly is; a disorientating hall of mirrors of psychology and satire - part Borges, part Carroll - as Mick Jagger's self-destructive rock star becomes a sort of white rabbit figure; leading exiled gangster James Fox into a wonderland of psychological manipulation, mind-games and more.

    On a secondary level of content and presentation, Performance can also be seen as a playful subversion of the codes and conventions of early gangster cinema; extending on certain well-worn characteristics of 40's film-noir - with the idea of a disgraced hood forced to hide-out after a botched job gives way to the threat of mob retaliation - whilst creating a continually evocative underworld environment that is rife with a number of recognisable references to the iconic gangland milieu of London's East End. This particular period setting is later contrasted and eventually broken down by the second half of the film, in which a combination of bohemian squalor and 60's decadence erode the carefully created facade that these troubled and enigmatic characters - "performers" even - have exploited in order to progress within their disparate social environments. The lines are further blurred by the use of drugs, which again, parallel the emotional landscapes of Lewis Carroll, as well as the more potent ideas of sex and sexuality, which are here presented as being part of a greater performance in itself.

    The film is littered with presentations of sex - both heterosexual and homosexual - and always loaded with the threat of both physical and psychological violence, power and manipulation. The sex is a continual distortion; neither erotic, nor titillating, and seemingly inspired by the paintings of Francis Bacon or Domenico di Michelino. It works in the creation of a heightened atmosphere that becomes continually more oppressive and dangerously claustrophobic as the film develops; with the kaleidoscope of images, sounds and colours all blending and blurring between extended philosophical discussions, violence and transfiguration. From here the film shows the subtle symbiosis between the self-aware rock-star and the naive gangster, as sex and drugs are again combined to break down the boundaries of personality and the literal mirroring between life and death. There are all kinds of different ways that we, as an audience, can interpret these ideas and the relationship between the characters; as Cammell - here in close-collaboration with co-director and cinematographer Nicholas Roeg - creates a continually fascinating atmosphere that is punctuated by abstract thought and dark, surrealist imagery.

    As a work of artistic expression and cinematic experimentation Performance is a film that needs to be experienced. It is not only notable as a deep, penetrating expose into the human psyche and the dangerous places that narcissism and self-delusion can carry us when the walls of reality have slowly broken down, but as a time capsule to the creative spirit of the 1960's and a brief bohemian subculture that I for one find incredibly interesting. The film also manages to capture the raw energy and quiet sexuality of Jagger before he became an insufferable cliché (all gyrating, geriatric hips swinging to a packed-out football stadium as he saunters through possibly the 100,000,000th performance of Gimme Shelter), with the seductive energy and shaman-like otherworldliness instead creating a character that is self-aware and clearly self-referential, and yet - so perfectly matched against the brooding uncertainty of Fox's wayward gangster. Likewise, the art-pop, drug culture and obvious psychedelic influences never overwhelm the story; instead feeling absolutely germane to the scene that Cammell and Roeg were attempting to explore and to the themes expressed within the subtle subtext of Cammell's strange and suggestive script.

    In hindsight, Performance can be seen as the point in time at which the psychedelic experimentation, expression and drug-culture of the 1960's was allowed to envelope the cinematic medium; extending on the more exciting and progressive films that had been emerging from places like France, Japan or the Czech Republic throughout the years leading up to 1967, and finally creating a complete symbiosis between content, theme, character and presentation that was socially progressive and entirely relevant. If America had films like Easy Rider (1969), Medium Cool (1969) and Zabriskie Point (1970), then we had Performance and 'If...' (1968). And if the latter remains a truly defining masterpiece of British film-making and a testament to the unsung greatness of director Lindsay Anderson, then Performance is the essence of the scene preserved as a sort of cinematic reflection; where the underground met the mainstream and the experience was allowed to take control.
    carangi

    Madness and sanity

    This is probably one of the best cult movies ever made. I have seen it about 20 times now and even the last time, it was still not boring and I stayed up late again to watch it at 3 in the morning (even though I have it on video). "Performance" shows James Fox in a part you would never expect from him. The mobster with the secret past and deep dark secrets. Violent and with a "no mercy" attitude. Very impressive. Mick Jagger debuts as an actor in this picture and you can see he wants to do well in the beginning. I know the movie was shot chronologically and Jagger seems to be growing as an actor in each scene. The most impressive performance is the performance German/Italian actress Anita Pallenberg is giving here. As the Jagger's character says in the movie: "The only performance that makes it, that really makes it, that makes it all the way, is the one that achieves madness!" And Anita does just that. She is beautiful, decadent, dangerous, high and grounded and very much herself as Pherber. If you watch this movie, you should really try and focus on her, because she is full of surprises. French teen actress Michèle Breton only starred in this movie and the attention is drawn away from her completely by Pallenberg. That is a shame, because Breton does have some very strong scenes, like the one with Pallenberg when they are talking about the gangster. You can see that both Breton and her character are not sure what they are yet: are they children or young women? This movie clearly deserves 10 out of 10!

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    Related interests

    Marlon Brando and Salvatore Corsitto in The Godfather (1972)
    Gangster
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    Psychological Drama
    James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie-Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)
    Crime
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    Drama

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      According to Anita Pallenberg, one scene actually shows her shooting heroin, which she was just starting to get into at the time.
    • Quotes

      Chas: [to Mick Jagger] You're a comical little geezer. You'll look funny when you're fifty.

    • Alternate versions
      In most versions the voices of Johnny Shannon, John Bindon and Laraine Wickens have been overdubbed. This was because the actors' own voices were thought to be "too cockney" for non-UK audiences to understand. The 2007 Region 2 DVD (DY11687) features the voices of all three actors throughout the feature, none of the previous overdubs are present in this version.
    • Connections
      Featured in Performance: Memo from Turner (1970)
    • Soundtracks
      Memo From Turner
      Written by Mick Jagger and Keith Richards

      Performed by Mick Jagger

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    Details

    Edit
    • Release date
      • September 4, 1970 (Finland)
    • Country of origin
      • United Kingdom
    • Language
      • English
    • Also known as
      • The Performers
    • Filming locations
      • 23 Lowndes Square, Knightsbridge, London, England, UK(interiors)
    • Production company
      • Goodtimes Enterprises
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • £750,000 (estimated)
    • Gross worldwide
      • $93,367
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 45m(105 min)
    • Color
      • Color
      • Black and White
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.85 : 1

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