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Quadrophenia

Quadrophenia

Drama · Music · 1979

Based on the 1973 rock opera album of the same name by The Who, this is the story of 60s teenager Jimmy. At work he slaves in a dead-end job. While after, he shops for tailored suits and rides his scooter as part of the London Mod scene.

Movie details

Quadrophenia

“A Way of Life”

1979 Drama · Music 2h 0m

Critical arithmetic

One number, for now.

TMDB

7.0 / 10

Community rating

Based on the 1973 rock opera album of the same name by The Who, this is the story of 60s teenager Jimmy. At work he slaves in a dead-end job. While after, he shops for tailored suits and rides his scooter as part of the London Mod scene.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Quadrophenia?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Performance.

Performance.

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Fanny Lye Deliver'd

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Drama · 2019

On an isolated English farm in 1657, Fanny lives a quiet life with her oppressive husband John and their young son. One day their life is rocked with the arrival of young couple Thomas and Rebecca who claim to have been robbed and need a place to stay. But are these strangers really who they say they are?

Where it lives

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Names above the title

The people responsible.

Directed by

Franc Roddam

Written by

Dave Humphries · Franc Roddam · Martin Stellman

Phil Daniels

Phil Daniels

James Michael 'Jimmy' Cooper

Leslie Ash

Leslie Ash

Steph

Phil Davis

Phil Davis

Chalky

Mark Wingett

Mark Wingett

Dave

Sting

Sting

Ace Face

Ray Winstone

Ray Winstone

Kevin

Garry Cooper

Garry Cooper

Peter

Court is in session

Put Quadrophenia on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.