Set in Britain's near future, Peter Watkins's "Privilege" puts forth a fascinating premise, despite the limitations of both budget and the talent of its leads. Steven Shorter is a charismatic pop star with mesmerizing influence over his young impressionable audiences. His stage performances use violence and brutality to cast him as society's victim, and, with powerful background music, he whips devotees, especially female, into a frenzy. The emotional impact is not unlike the Beatles, who coincidentally were at their peak in 1967, when the film was made. Shorter's opportunistic handlers, however, want to influence the youth of Britain with his cooperation, and, in an unholy alliance with the established church, undertake a campaign to promote conformity and traditional values. However, the campaign's launch coincides with Shorter's awakening desire to break free of his burdensome role and become an individual. In this struggle, he is encouraged by the young artist who is painting his portrait.
The original songs by Mike Leander and rock versions of "Jerusalem" and "Onward Christian Soldiers" are catchy and provide the movie's best moments. Unfortunately, the film's stars do not match Watkins's ambitions. Paul Jones lacks a charismatic presence and fails to convince that he could move millions with his voice and image. Although Jones is only adequate as a dramatic actor, the former lead singer of the group Manfred Mann manages the stage sequences quite well. However, his non-singing dramatics lack depth and are largely expressionless. Although Jean Shrimpton is astonishingly beautiful as Vanessa Ritchie, the portrait artist, her talents as an actress are woefully lacking. Despite success as a fashion model, her lackluster performance herein was likely one reason she has only two film credits.
In support of the two leads, Shorter's handlers and the clergy are convincing, and the film has a fascination that transcends its flaws, which include lazy overuse of narration. The manipulation of religion for political ends is as relevant now as in the 1960's, and combining religious faith with popular music and canny advertising is still a potent mix. Burning crosses, hysteria-induced "miracles," screaming young women with tear-stained cheeks, pounding hymns and anthems, sinister-looking clergymen, police brutality: "Privilege" seems to have been drawn from "Triumph of the Will" and, in turn, later inspired "Pink Floyd, The Wall." An often powerful warning about the evils of mixing church and state, restricting individual rights, and following demigods, "Privilege" remains a flawed work that is definitely worth a look.
