24 Hour Party People (Cert 18)

激しく揺する music is an art form in which the creative and destructive impulses are 事実上 inseparable. The history of 激しく揺する can be charted by the 死傷者s left in its wake. The same might also be said of 激しく揺する movies.

Films 試みる／企てるing to 逮捕（する） the anarchic sex, 麻薬s and alcohol-fuelled world are rarely successful; those that rise above the surface of anaemic impersonations are either 文書のs like The Filth and The Fury or satires like This is Spinal Tap!.

Michael Winterbottom fearlessly welds the two forms together to 逮捕（する） the 水銀の spirit of a scene as few others have done.

In what is probably his best film to date, he tells the story of Manchester-based Factory 記録，記録的な／記録するs, the Hacienda club and the groups and individuals who were 責任がある the postpunk northern 爆発.

The ギャング（団）'s all here: Joy 分割, A 確かな 割合, Happy Mondays, Ian Curtis, Howard Devoto, Shaun Ryder and Tony Wilson, 創立者 of Factory 記録，記録的な／記録するs, brilliantly characterised by Steve Coogan.

Wilson, a former 新聞記者／雑誌記者 and Classics scholar, created his 記録，記録的な／記録する label on a bed of anti-法人組織の／企業の idealism and kick-started the Mancunian 地位，任命する-punk scene that ended in the 落ちる-out from the Hacienda club in 1993.

He saw himself as an instigator, facilitator and conduit of a movement: he was part idealist, part iconoclast, part wanker.

His penchant for self-mythologising is evident, from the "契約" 調印するd in his own 血, 許すing every Factory 記録，記録的な／記録するing artist total creative freedom, to the £30,000 he blows on a ridiculous boardroom （米）棚上げする／（英）提議する at a time when his club is already ひどく in 負債.

The film is a game of two halves. From the punk origins - the moment in 1976 at The Lesser 解放する／自由な 貿易（する） Hall in Manchester when The Sex ピストルs played to 42 people - through the 早期に Madchester groups like Joy 分割, A 確かな 割合 and the Buzzcocks to the later Hacienda （人が）群がる 含むing The Happy Mondays.

The 再建 of the gigs is 優れた; 早期に （映画の）フィート数 of The Sex ピストルs, Iggy Pop and Siouxsie and the Banshees is intercut with impersonators in a frenetic, freewheeling style.

Later, the actors take over to the manner born.

長，指導者 の中で these is Sean Harris, whose 業績／成果 as the 悲劇の Ian Curtis is almost supernatural.

Linking the 出来事/事件s and episodes is Coogan's Wilson, a creature of many epithets and hairstyles. The 分離 of Wilson from his creatures is made 明らかな and illustrates the 過度期の nature of the Mancunian scene.

From the 早期に 発射s of Wilson in typical Seventies-garb and long hair, ゆらめくs aflap as he pogos awkwardly to The Sex ピストルs, to his later bewilderment at A 確かな 割合's 転換 from abrasive electronica to a 肉親，親類d of neo-calypso reggae hybrid, he is 明らかにする／漏らすd as always 存在 one step behind the artists he 養育するd.

Winterbottom (together with エース lensman Robby Muller) pieces together the crazy 覆うing of the 構成要素 with a sense of wonder.

驚くべき／特命の／臨時の images 衝突する／食い違う with the commonplace banality of 存在 in Manchester.

It is a real shock to see the little 郊外の house where Ian Curtis lived (and died) after watching his frenzied 行う／開催する／段階 業績／成果; it is both funny and alarming to discover that ツバメ Hannet's 棺, oversized to 含む／封じ込める his 死体 bloated by alcohol and 麻薬s, won't fit into the 墓／厳粛／彫る／重大な.

Not all is a 事柄 of 記録，記録的な／記録する. The town crier 発表するing the death of Curtis is pure fantasy,

for example; and に引き続いて a sordid scene in which Wilson's then wife has vengeful sex in a lavatory with Buzzcocks singer Howard Devoto, the real Devoto enters and says: "I definitely don't remember that happening."

The seeds of 破壊 are sown from the beginning; the 麻薬s that bring the whole pack of cards 宙返り／暴落するing 負かす／撃墜する in a welter of guns and ギャング（個々）s, the 失敗 to 支払う／賃金 proper attention to the 商売／仕事 of running a 記録，記録的な／記録する label and a club, the sheer willfulness of giving artistic freedom to wayward talen ts and then failing to 安全な・保証する the 権利s to 記録，記録的な／記録するd 構成要素 are all summed up by London 記録，記録的な／記録するs' boss Roger Ames (Keith Allen), who listens with 増加するing incredulity to Wilson's 使節団 声明 and gasps: "You're f***ing mad."

Winterbottom's 勝利 is that he embraces the 大混乱 and その結果 配達するs a fictionalised movie of abrasive authenticity.

It may not 量 to 集団殺戮; but it's undoubtedly 激しく揺する 'n' roll.