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Jimmy: Bellboyyyyyy!
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Steph: Going to be one of the faces?
Jimmy: What do you mean going to be? I AM one of the faces!
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[on Kev's leather jacket]
Jimmy: 'Ere, I never realized.
Kev: Never realized what?
Jimmy: You's a rocker.
Kev: What, am I black or something?
Jimmy: Well you ain't exactly white in that sort of get up, are you?
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Kev: I don't give a monkey's arsehole about Mods and Rockers. Underneath, we're all the same, 'n't we?
Jimmy: No, Kev, that's it. Look, I don't wanna be the same as everybody else. That's why I'm a Mod, see? I mean, you gotta be somebody, ain't ya, or you might as well jump in the sea and drown.
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Jimmy: [from the cliff top after deciding not to be a mod]
[shouts]
Jimmy: Me!
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Amazon.com
Franc Roddam's terrifically energetic movie, set to music from the Who's Quadrophenia, is--at the very least, the best film ever based on a rock album (and, yes, that includes, Tommy, Pink Floyd: The Wall, and Jesus Christ Superstar). Actually, this tale of the battle between two early '60s youth subcultures--Mods and Rockers--in the seaside teenage wasteland of Brighton, England, isn't so much a cinematic "version" of the Who's 1979 double-record rock opera as it is a story based on the sequence of songs on the album. Quadrophenia is about that crucial time in teenhood when the lion's share of your sense of identity is tied up in the music you listen to, the clothes you wear, and the groups you hang out with. Jimmy (Phil Daniels) identifies himself with the sharp-dressing, scooter-riding Mods, who listen to American soul and British pop-rock (The Who themselves were once rather Mod). The Rockers, on the other hand, are leather-jacketed, black-booted, motorcycle-riding tough guys who listen primarily to classic American rock & roll. The film captures this minor pop-culture revolution perfectly. Look for Sting as a club-hopping slickster, who's shameful secret is that he's a hotel bellboy by day. --Jim Emerson
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