Except it’s not, at least not exactly. The movie
hardly mentions his breakdown or mental health again, and doesn’t really show
us Adam Ant’s struggles. And the narration completely disappears. That’s not to
say that The Blueblack Hussar isn’t
interesting. But it is certainly not the film it promises to be. It basically
has the feel of home movies rather than a documentary. People on screen are
never identified. So either it’s assumed we know who all these people are, or
it doesn’t matter who they are. The camera basically follows Adam Ant around,
and sometimes he speaks directly to the camera, as at the beginning when he
tells us that the blueblack hussar is the follow-up to his famous white stripe
across his face, but more often he’s speaking to those around him, but for the
benefit of the camera and the film’s audience as well. On the way to a gig, he
pulls out the night’s set list. “It’s a
long one.” Indeed, it is. He also says the two places he’s happiest are on
stage and in bed, and I wish someone were there to ask him further about this,
to explore the reasons why he’s not as happy when he’s not performing, one way
or another.
There are a lot of ordinary
details captured in this movie. We see Adam Ant applying makeup, posing for
photos, getting a tattoo, and so on. And there is some weird footage of him
dancing in his home and some woman trying to follow his steps and gestures for
some reason. It’s really bizarre. Why is she doing this? Who is she? I really
wish those on screen were identified. Likewise, the locations. There is some seriously
enjoyable concert footage, but the venues and dates of the shows are largely
left unmentioned. He sings, “I want to
make my intentions very clear/I want to fuck you in the ass/I want to fuck you
on the floor.” And I like the footage of him performing “Press Darlings,” a
cool punk tune.
Interestingly, before you know
it, you’re sort of immersed in his world, like you’re one of the odd characters
surrounding him. Was that the intention behind not identifying people, to make
us feel like we must already know them? Though there are no proper interviews
done specifically for the film, there is footage of Adam Ant being interviewed
on the radio, and footage of him being interviewed by someone else in a house.
That’s actually in some ways more interesting, because we are detached from the
process a bit, looking on as someone else struggles to set up and work the
camera while Adam waits – something that the filmmaker of this documentary
could very well have had to deal with had he chosen to go the normal route with
this film. There is even a dog that gets in the way.
The film includes footage of
him meeting Charlotte Rampling. Apparently, Adam is a big fan of the film The Night Porter (hell, so am I), and
wants her to perform one of his songs. He jokes about doing a “world tour of London,” causing Charlotte
to laugh. I also like the footage of him in a recording studio, singing “Ca
Plane Pour Moi.” And wow, check out his backing vocalist’s amazing fuzzy
sweater. And I love the footage of him with artist Allen Jones. It seems this
film is often at its most interesting – and Adam is at his most interesting –
when he is with someone he respects, and the focus is shared. Perhaps it is
then we see a bit more of who he really is.
Though the film doesn’t get
into any of his troubles, or even the reasons for his returning to music (other
than he’s happiest when on stage), there is something of a progression shown.
From small gigs to a show at Hyde Park before a large crowd, which concludes
the film, showing that he is clearly back in the spotlight.
Special Features
The DVD includes some bonus
footage, more concert footage. Interestingly, this footage is clearly
identified. The first bit is a snippet (approximately two minutes) from a show
Adam Ant did at The Scala in London on November 21, 2010. The sound isn’t great.
The second is from Jazz Café on March 31, 2011, and this footage features Adam
singing “Young Parisians” with Boy George. It is approximately three and a half
minutes, and is totally delightful. The third is from The Electric Ballroom on
December 16, 2010, with Adam Ant performing “Deutscher Girls.” Very cool.
The special features also
include a Q&A with Jack Bond and John Robb recorded at Riverside Studios on
June 24, 2013. Jack Bond talks about meeting Adam Ant for the first time. “When I met him, I was kind of entranced by
him.” And that led to him deciding to make the film. He talks about the
style of filmmaking used in this documentary. He says: “I think it does create its own narrative. But finding that narrative
and eliminating what you don’t want is the hardest part. I think that is the
struggle.” This is approximately fourteen minutes, and includes snippets
from the film he made with Salvador Dali. Jack Bond does compare Dali and Adam
Ant.
The Blueblack Hussar was directed by Jack Bond, and was released on
DVD on October 16, 2015.
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