Privilege

Critics Consensus

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50%

TOMATOMETER

Total Count: 14

74%

Audience Score

User Ratings: 403
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Movie Info

Stephen Shorter (Manfred Mann's Paul Jones) seems like the perfect pop star; he is, however, little more than the puppet and prisoner of a manipulating church and state. What seemed like outlandish speculation in 1967 - the control of the masses through popular culture and celebrity endorsement -- now seems too close for comfort. Still criminally misunderstood, it is time for Watkins' visually stunning film to be fully appreciated.

Cast

Paul Jones
as Steve Shorter
Jean Shrimpton
as Vanessa Ritchie
Mark London
as Alvin Kirsch
William Job
as Andrew Butler
Max Bacon
as Julie Jordan
Jeremy Child
as Martin Crossley
James Cossins
as Prof. Tatham
Frederick Danner
as Marcus Hooper
Victor Henry
as Freddie K.
Arthur Pentelow
as Leo Stanley
Michael Barrington
as Bishop of Essex
Edwin Finn
as Bishop of Cornwall
John Gill
as Bishop of Surrey
Norman Pitt
as Bishop of Hersham
Alba
as Bishop of Rutland
Doreen Mantle
as Miss Crawford
Michael Graham Cox
as Timothy Arbutt
View All

Critic Reviews for Privilege

All Critics (14) | Top Critics (5) | Fresh (7) | Rotten (7)

  • This is a bitter, uncompromising movie, and although it isn't quite successful it is fascinating and important.

    Apr 12, 2016 | Rating: 3.5/4 | Full Review…
  • There's no denying Watkins' ambition and intelligence in this satire of the rock world being used by the Establishment... but much of the acting is poor, while the tone is frequently far too hysterical for its own good.

    Apr 12, 2016 | Full Review…

    Geoff Andrew

    Time Out
    Top Critic
  • Peter Watkins's hysterical vision of rock and roll fascism was timely in 1967, though it now seems too much a stern warning to youth to be taken seriously.

    Apr 12, 2016 | Full Review…
  • Trouble with Privilege is that it cannot make up its mind whether it's a crusading film for the intelligentsia or a snide, 'with it' comedy.

    Apr 12, 2016 | Full Review…

    Variety Staff

    Variety
    Top Critic
  • Ultimately, Privilege is less a picture than a frame.

    Apr 12, 2016 | Full Review…
    TIME Magazine
    Top Critic
  • As social or political comment, the movie is low-level paranoia -- i.e., paranoia that is not even ingenious enough to play along with.

    Feb 10, 2019 | Full Review…

Audience Reviews for Privilege

  • Mar 20, 2012
    Made in 1967, "Privilege" at first seems to be little more than just a reaction against Beatlemania as it starts with a ticker tape parade for rock star Steven Shorter(Paul Jones) in his home town of Birmingham, England.(If Jones' performance appears to be affectless, it might be on purpose, as the general idea here is to make Shorter look like he is undeserving of all the attention.) That is before a conceptual on-stage performance that puts his mainly female audience in hysterics, with a few looking like they are on the verge of an orgasm. But even at this early stage in his career, director Peter Watkins has bigger fish to fry than just celebrity with this thought-provoking, intelligent and powerful movie that is also the most creatively filmed of his docufictions. Set in the near future, this could also be our present, as the film is prescient about many things including music videos(recalling Shorter's performance on stage), the abomination of reality television(you will never be able to watch a promo for 'American Idol' the same way ever again) and Tony Blair's New Labour. In this world of almost one political party, there is conformity across the board, beginning from the top, and eventually laterally applied at the lower levels of society. The powers that be have co-opted and commodified Shorter, and through him, rebellion, so much that Vanessa(Jean Shrimpton), who has been hired to paint his portrait, is the only person not in awe of him. And whereas Ken Russell saw the rock star as god, Watkins sees religion as just another business to corrupt the rock star.
    Walter M Super Reviewer
  • Jul 15, 2010
    I'm guessing this is probably one of the earliest examples of a "mocumentary", which is impressive. What is also impressive is how eerily prophetic it is, to spite it's (sometimes) painfully dated moments. A telling look at the making, selling and ultimate distruction of a pop star. It is both campy and tragic. With some very interesting (and over the top) themes and visuals. It is no doubt used as a training film for the "talent" teams at Disney, who seem to think that every child actor needs to have a recording career and every child singer an acting career. And above all else - sell, sell, sell. There is no room for individual creativity, expression, integrity or (heaven forbid) dignity...use them until they are are no longer sellable and them kick them to the curb.
    Robert C Super Reviewer

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