Those who can’t remember the punk era probably won’t be aware of the prodigious John Otway. Not that Otway would describe himself as a punk: in fact it was this very accidental mislabelling that led Polydor Records to pay him an advance of £250,000 for a 5 album deal that yielded little more than music executives’ blushes.
Irrespective of whether the viewer is familiar with the singer, ROCK AND ROLL’S GREATEST FAILURE: JOHN OTWAY THE MOVIE quickly creates an air of cult status around its subject. It tells the story of Otway’s innumerable attempts to replicate his hit pop single ‘Really Free’ from 1977, following the many turns in his career along the way. A stumble always seems to accompany a step in the right direction. Having documented the seemingly impossible achievement of getting Otway into the top 10 in 2002, the film immediately juxtaposes success with yet another failure, this time substantial financial losses on a planned world tour using his own (rented) private jet.
The film’s tone is sometimes uncertain: combining footage of his manic live performances with eccentric to-camera narration by the star himself, this could so easily be a wonderfully written piece of satire. Talking heads from Otway’s past flesh out the ludicrous rise to fame of a man whose own mother states on camera that he “can’t really sing”. Managers lament his haphazard approach to finances, while old band mates and fans seem entranced by a man they view as a maverick.
‘John Otway “turned being uncoordinated into a very fine and amusing art”’
To finish, director Steve Barker has a triumph up his sleeve, a final victory in the Otway saga – the very making of the documentary biopic. The film closes with scenes shot at the premiere of ROCK AND ROLL’S GREATEST FAILURE itself, with legions of fans applauding the star at the Odeon in Leicester Square. On his arrival at the red carpet, waddling in a cardboard limo suspended around his knees, Otway proves himself a champion to the last.
While it would be possible to pick holes in some elements of the production quality of the movie, the rough edges are completely in keeping with the infinitely optimistic, joy-giving lead. It is perhaps best left to one of his superfans to describe the success behind a true musical eccentric who probably had no right to succeed in the way he has: John Otway “turned being uncoordinated into a very fine and amusing art”. On the basis of the humour and charm of this film, little can be offered in opposition to such a statement.
(Photos courtesy Distant Cloud)
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