Pistol: not everything is true, but there is emotion

The Pistol series retells several stories in one: the beginning of the punk movement, the fashion and politics of the 1970s and 80s, music, and a proletarian youth in search of a world with meaning. In the beginning, middle, and end of this story are the band Sex Pistols, which in their brief stint in Margaret Thatcher‘s London changed world culture. Director Danny Boyle has assembled a talented cast of rising stars in the UK market to take us on a journey through time. It’s worth boarding.

Interestingly, the death of the Queen, the week after the content arrived in Latin America, has a connection. After accompanying you celebrating the Platinum Jubilee (70 years) in April and passing away at the age of 96 in September, it is worthy of being impressed that the band has used the Silver Jubilee (25 years) as inspiration for one of their biggest hits: God Save The Queen.


For anyone who grew up with punk rock as a reference, it’s a little touching to look back and see that with an average age of between 19 and 21, the Sex Pistols were almost children when they first appeared. In the manager’s view, Malcolm McLaren, the rockers’ look and rebellious attitude were more relevant than the music, but they were good. They invented a style that was later toned down as a new wave, but still, it changed everything.

The series is based on the autobiography of guitarist Steve Jones, and changes some facts (there was no romantic relationship between him and Chrissie Hynde, for example). Although he has complained of being left out of any approval, John Lydon played by Anson Boon is great and brings an empathic vulnerability to the vocalist so controversial.

But most touching, as expected, is the part of the story that focuses on Sid Vicious. A friend of Johnny Rotten, he became a symbol of exception and died of an overdose at the age of 21, but he has a particularly difficult life of all (and that ranking was not high). Starting with Louis Partridge‘s terrifying delivery of the role.

Young Sid was everyone’s protege, but the one most susceptible to the intensity of the movement. Unlike Johnny and Malcolm, who wanted to provoke and break with society’s concepts (Malcolm with anarchy and Johnny with a harsh pro-Republican critique), Sid wanted acceptance. Practically abandoned by a chemically dependent mother (who gave her teenage son a stuffed animal with hidden heroin as a gift), Sid became – within the band – the face of the punk movement.

His meeting with Nancy Spurgeon was fatal and although everyone has condemned her over the years for having minimally accelerated the end of Sid, the series is even charitable with her, treating her equally as a victim and without going into detail in the still bizarre and not murder of bassist’s girlfriend solved. SPOILER: suggest it was a suicide pact that went wrong.

Naturally, the “educational” side, with many archival images and some clearly made sentences, arouses a drop of cynicism, but, in general, the series fulfills the role of emotions. And it makes – a lot – want to listen to the Sex Pistols again. At the full height.

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