Privilege

Britain 1967
‘Watkins has produced not so much a film as a hotchpotch of film and television - and it simply doesn’t come off.’: (The Guardian)

‘The emotional ambivalence in this film is even more marked than it was in ‘The War Game’. Both movies seem to me to luxuriate in images of the violence they believe they are indicting ... ‘Privilege’ is not only about hysteria; it is itself hysterical ... In its ranting simplifications, it may well be procuring a conformity as repugnant as the one it is claiming to reject.’ (The Sunday Telegraph)

‘Pop goes the Watkins ... Misanthropy is one thing, monotony another; and watching ‘Privilege’ is rather like watching a man repeatedly labouring to raise a heavy hammer, whirling it round his head, and bringing it crashing down on his own hand.’ (Spectator)

‘Nowhere does the film admit any inherent social or cultural resilience in the human race, not even to the point of acknowledging that in show business, which is the setting of the story, teenage taste still has an odd way of favouring professionalism, artistry and certain qualities of warmth and vitality and humour. ‘Privilege’ is, indeed, a dispirited view of us and our future, and a strange first film - alternatively arresting and ridiculous - for Peter Watkins.’ (The Financial Times)

‘The Government is Coalition and the slogan is “We Will Conform.” No we won’t, and you should know that by now, Mr. Watkins.’ (The Sun)

‘What hangs around Watkins’ neck is sheer lack of professionalism: his film is a mass of poor scripting, inept acting, and directionless, irrelevant camerawork and editing ... the television-vérité style that Watkins has clung to so obsessively throughout his short career has now reached its ultimate condemnation ... Everything in ‘Privilege’ goes wrong, and one can do little but catalogue the failures ... For ‘The War Game’ the technique was just about as hollow, but the film’s subject gave it the compulsive fascination of a nightmare; with ‘Privilege, the result is mere farce.’ (British Film Institute Monthly Film Bulletin)

USA 1967
‘Privilege’ ... is more absorbing in its failure than a good many films are that fulfill their purpose.’: (Washington Post)

‘Privilege’, a cruelly compelling, often brilliant film ... the real star ... is director Peter Watkins, only 31, who must get credit for this acidly anti-establishment film ... the quasi-documentary touches he mastered on BBC money are sharply and effectively in evidence. And in his first full-length film, he shows he can use color with startling success. No doubt about it: Watkins is on his way.’ (Playboy)

‘Absurd? It is set in mythical British 1970, which removes it from now. But a thoughtful look at today’s super-adoration of pop-music singers makes director Watkins’ chilling premise more believable ... ‘Privilege’ is at times brutal and offensive. It is not a happy film. But it is always brilliant.’ (The Christian Science Monitor)

‘Absolutely in tune with the year 2000 ... Very fascinating movie about how a society can control their youth via a super star. Take note that all of these elements were conceived in the ‘60s. The theme and the message of this movie are the important part. Too bad that it is impossible to find a copy of it, but if by accident it is shown, please don't miss it ...’ (Portland, Oregon)

‘Interesting take on the use of celebrity to enforce conformity ... I wish this film was available, but I remember several images though it's been almost 30 years since I saw it on a late TV movie. One was the scene of monks in robes jamming to an updated version of "Onward Christian Soldiers." A second was the huge concert in the arena where the archbishop blessed the flags, surrounded by torches (purposely copying Nazi rites). The last were the chants of tens of thousands - "I will conform!" with upheld candles, like lighters at a concert encore.’ (Dallas, Texas)

‘Fascinating, baffling, confused and prescient - sometimes all within the same scene. A true artifact of the late ‘60s. Unfortunately, because it was released by Universal Studios (often referred to as "The Movie Studio that hates Movies"), ‘Privilege’ has been near impossible to see for decades. Still never released on home video (shocking). Fortunately, the American Cinemateque just showed the ONLY existing print in the world. It was pretty ratty, with a constant hiss on the soundtrack, but at least it was shown. The idea of a pop singer turning into a national icon that transcends his commercial status is even more relevant today than in '67 ... See it if you can. And write those letters to Universal Studios and hope this gets released on video, soon.’ (USA)

‘Good movie about a singer whose popularity serves for societal manipulation ... The concept of using rock for social control is a bit dated, but try reworking it in the context of modern consumerism: Huge corporations and their musician-sponsors. Why, Madonna and Michael Jackson would never allow their artistic talents to be used to get people to buy Pepsi, right? The Beatles "Revolution" in a Nike ad is out of the question, true? Janis Joplin's estate wouldn't allow Mercedes-Benz to feature her tune about the car, correct? We aren't being manipulated by that old time rock and roll, are we? Not even to buy "Like A Rock" Chevy trucks? Paranoid enough? Then you'll enjoy ‘Privilege’. (Florida)