Joe Strummer: The Future Is Unwritten

Wow, I was blown away by this film. Despite having been born in 1990, and not having got into punk 'til 1 1/2 years after Joe's death (something I'm constantly kicking myself for), this film made me feel involved in his life + the '70s punk scene, as though I actually lived it. That's the sign of a pretty feckin' good film, if you ask me.

I found the format to be fantastically original (everything from having Joe 'narrate' through his radio show, to the use of his cartoons and the campfire interviews), the content was thorough but not overly concerned with trivial details, and it was just generally a warm, involving + insightful portrayal of Joe's life and the British punk scene.

Fantastic. See it.

The majority of the talking heads that are used to frame this film have been captured outdoors next to a bonfire, brazier or something similar – there is a reason for it and it is something that you should bear in mind when considering watching this film. The device is a good one and what it does is take sound-bites that could have just felt a bit like scripted puff and turns them into reminiscing round a fire with friends. This fits with the "bigger" comments from band members etc, who do feel like they are sitting reminiscing about the old days but with this comes a problem. You see, the entire film has embraced this approach – the approach that we are among friends, people who were all there, know all the stories and love telling them and hearing them even if they have heard them many times before. Not that there is anything wrong with this as an idea because it does offer the potential for an engagingly personal film that perhaps risks inaccuracy via recollection but gets a lot of passion and such in its place.

Unfortunately when taken to an extreme this does risk alienating the casual viewer who is too young to remember and is using the film to fill in them on what they have missed. With this audience sector (which I am in) Julian Temple seems disinterested, even to the point where he doesn't put any captions on the talking heads to tell us who they are. This is irritating because it is hard to shake the feeling that you are looked down on by Temple and perhaps a bit unwelcome as a viewer and it is not a feeling that I ever shook. However, having said that, the personal reflections and observations do help counter this because they do make for an engaging film in terms of feeling if not information. The majority of the footage is "home" video and newsreel footage from the times in question and this is mostly edited together really well to inform and shore up the contributions and feel.

It is not totally successful though – even if it was a big improvement on Temple's film on Glastonbury. It doesn't inform a lot and it is so personal that it is hard to always stay with it whenever you do feel like you are being excluded if you're not in the in-crowd. Ironically though, while he seeks this feel at the expense of names on the contributors, he is fine with having famous faces with almost nothing to say in there – OK it at least gave me people I could instantly put a name to but otherwise I'm not sure what Cusack, Bono, Depp and others added that anyone with The Clash greatest hits CD on their shelf. Not sure why he bothered to put footage of no relevance in either (such as Animal Farm clips) as it just cluttered it and made it feel like he was trying to be creative by doing what any arty film student would – with montages of stock footage.

The Future is Unwritten is an engaging but flawed film that will mostly appeal to those that "were there, man" rather than the casual viewer. The passion and personal feel to the film at least counters the "if you're name's not down you're not coming in" feel that it all has but never totally and, while Temple does produce an interesting structure and feel, it doesn't work as well as he would like to think. A must for fans and perhaps just about good enough for the casual viewer.

I absolutely love The Clash and, because I liked Temple's film about the Sex Pistols, I had high hopes for this. Like many other people, I found the campfire interviews completely unsatisfying, especially since none of the subjects are identified at all. We hear very little from Mick Jones and not all from Paul Simonon. On the other hand, we are treated to John Cusack and a pirate-costumed Johnny Depp. Matt Dillon shares a fascinating anecdote in which he recounts something a taxi driver once told him about Joe Strummer, and Anthony Kiedis tells us that Joe hired someone who used to drum for him. Gosh! If any of these people knew Joe in a meaningful way, they don't make that clear on screen. Why Bono and not Billy Bragg talking about Joe's political effect on his own music? Perhaps Julien Temple is hopelessly starstruck. The film's only redeeming features were the home movies, photographs, live performances and excerpts from Joe's BBC radio show.

This film is not worthy of the man who inspired it. I will keep my fingers crossed that another filmmaker, one who favours substance over style, will some day make the definitive Joe Strummer documentary.

I have to admit I wasn't expecting too much from this documentary, but was really pleasantly surprised. It's not lightweight by any means and may prove difficult for the casual fan - definitely not popcorn material. The sheer amount of research and material that's gone into it is colossal and it could take many repeat viewings to take it all in.

I went away from the film feeling very uplifted and positive - Joe's attitude to life really makes you want to re-evaluate, and the film really captured that, particularly towards the end. Needless to say the soundtrack is absolutely fantastic as well - not just Clash/101-ers/Mescalaros material (which would be enough in itself!) but a really eclectic variety of music of influences from around the world and from many different ages.

I'm going to stick my neck out and declare this is the best music documentary ever made - it really did affect me that much.

What a documentary film that made by Julien Temple, Filmmaker Julien chronicles the transformation of a self-described "mouthy little git," born John Mellor, into an anti establishment icon known to the world as Joe Strummer. In his latest documentary, Temple uncovers the myth behind the front man of the seminal punk band the Clash. Through previously unearthed interviews with Strummer himself and recollections of those who knew him best, Temple reveals a complex man who used his music as a bullhorn for his conscience-as well as a means to educate others about the injustices of the world. The film includes live concert footage spanning Strummer's career and tapes of his BBC radio program, all of which provide a fitting soundtrack to his distinctive and storied existence. The performance footage would be fascinating on its own, but Temple probes beyond Strummer's mystique to reveal a person with his own flaws who could sometimes be idealistic to a fault. Temple has created a thoughtful and poignant portrait of a man many think they knew. 'Joe Strummer: The Future Is Unwritten' provides a rare glimpse into the man behind the legend of "punk rock warlord." There are personal interviews with some of the surviving members of The Clash, as well as with people like Bono and John Cusack that are very personal, and serve the film well. They don't stand out as "Look! We've stuck a celebrity in here!" Temple uses a campfire setting for most of these interviews, and given the fact that Strummer used to Organize large campfire celebrations before he died, it's only fitting. One thing for certain is that the Joe Strummer we see at the campfires is a much more approachable and likable figure than the Strummer who avoids confrontations and has other people fire band members during the heyday of The Clash.