Quadrophenia

What constitutes a rebel? To me, it’s action. Taking a stand against the tyrant that oppresses you so. Most of us are lucky enough to not have a Goliath that physically stands on our necks, but when there is nobody to rebel against, where does that anger go?

For Jimmy (Phil Daniels), the main character in Franc Roddam’s 1979 classic, his anger is pointed squarely at the system, the world at large that keeps him docile and wrapped in chains of mundanity. Jimmy has a respectable job and a relatively stable family life, but his mind is consumed only with music, scooters, girls, drugs, violence, the finest tailored suits and the newest (and tightest) clobber that he can flaunt at the discotheque, and the annual Brighton scrap.

The film’s central conflict lies between the mod and rocker subcultures. The mod’s penchant for sharp Italian suits, scooters and The Who (whose landmark album inspired the film and lends the film its title) created a fiery contrast with the leather-clad, motorbike-riding rockers and their love for the classic rock n’ roll of the 50’s and 60’s. Roddam highlights this cultural feud by exploring the relationship between Jimmy and his childhood friend Kevin (Ray Winstone), who has now become a rocker. The cafe scene, in which Jimmy is appalled at being seen with Kevin by his Mod buddies, is quietly devastating, as we watch a rift form between two friends over, quite frankly, nothing. Kevin understands that he and Jimmy are the same: working-class kids finding an identity, a community, a vessel for their anger and a reason to live in the records that they buy and the clothes that they wear. But for Jimmy, being a Mod isn’t just his identity. It’s his life. And Jimmy lives that life right to the edge of the cliff.

Quadrophenia is hailed as a British coming-of-age classic for a reason. For one, it’s so damn stylish, and influences people’s music taste and dress-sense to this day (myself included). The Who’s music complements and shapes the film’s narrative, but the film is more than a jukebox musical. Roddam’s direction is superb, effortlessly weaving together the chaos of Brighton Beach - and the claustrophobia and excitement of being right in the middle of a massive brawl - and the quiet sadness that lies at the heart of Jimmy and his superficial, lonely life.

With a final scene that echoes Truffaut’s The 400 Blows, Quadrophenia perfectly encapsulates the rebellion and desperation for belonging that is guaranteed with coming-of-age, as well as the pain of recognising that the path that you are on is unsustainable. And whether you are a mod, a rocker, or a mocker, we can all find something to connect with in Quadrophenia.

We are the Mods!