Presented by Michael Caine and with a script by acclaimed screen writers Dick Clement and Ian La Frenais, you would be right in thinking there will be little to dislike in ‘MY GENERATION’ (Director David Batty, 85 minutes, 2017) – a documentary where Caine reflects on the huge cultural changes that saw the Swinging 60s emerge from the Frugal 50s.
In describing the change in generational outlook which prompted London to swing and shake, Caine delivers his assessments in a measured and deadpan way. But for all the ruminations on new attitudes toward sex, class, drugs and education – along with startling innovations in the fields of music, fashion and art – the film, while always watchable, does not have a great deal fresh to say about a decade that has already been exhaustively documented.
Those looking back to when times were a-changin’ include Paul McCartney, Roger Daltrey, Twiggy, David Bailey, Marianne Faithful and Mary Quant – but unlike Caine they are heard rather than seen, their voices providing a commentary for the piece.
Yet just as effective are grainy, black and white interview clips of John Lennon, Mick Jagger and Pete Townshend, (along with Caine and McCartney) who are captured in the moment, passing comment on the maelstrom they have more or less created.
It is widely accepted the immediate post-war period and most of the 1950s were an austere time for Britain. With the economy in ruins on account of World War Two, rationing of some food stuffs lasted almost twice as long as the conflict itself.
But as Marianne Faithful is quick to point out, the education reforms implemented by the 1945-51 Labour Government of Clement Atlee included the introduction of art colleges, which in the early 60s spawned, among others, Lennon, Keith Richards and Townshend – with The Beatles, Rolling Stones and The Who, providing much of the soundtrack over which those looking back make their observations.
As each of those groups in turn take British popular music light years away from where it had previously been (the sheer braggadocio and energy of their early singles still astounds), so those in bowler hats and sensible cardigans bemoan the lack of decency and decorum among the young.
Such types Caine must have had in mind when he describes the previous generation as ‘dull,’ ‘predictable,’ and ‘conventional,’ and in commenting on the British class system makes some interesting points in relation to his early days as a film actor – although mimicry of the way Trevor Howard speaks in ‘Brief Encounter‘ seems a touch unnecessary, particularly as the point has already been made that as a youth Caine knew nobody who spoke in such a way.
For what its worth I’ve never met anyone who speaks in the affected way Caine does in ‘Zulu‘ but that is by the by.
Surprisingly the British Film Industry of the 60s receives little scrutiny. Made at a time when London could swing no higher and encapsulating music, fashion and art, ‘Blow Up‘ (1966) seems an obvious reference point, but is ignored – with focus put mainly on three films ‘The Ipcress File‘ (1965), ‘Alfie‘ (1966) and ‘The Italian Job‘ (1969) in which Caine is the star.
Which is not a complaint as ‘The Ipcress File‘ and ‘Alfie‘ in particular are wonderfully atmospheric ‘London’ films, Caine delivering lines in his own, Cockney in this case, regional accent. Striking now, however, is how conservatively the insubordinate intelligence officer (‘Ipcress File‘) and Lothario (‘Alfie‘) are dressed, given the new found flamboyance in clothes design.
By the time of ‘The Italian Job‘ the Charlie Croker character played by Caine looks like he could be a member of The Kinks – mention of which, it is something of a surprise the thoughts of Ray Davies (another former art school student) are not sought.
At a time when the bandwagon containing new trends and attitudes was moving at full speed, Davies looked down (literally – metaphorically too, one suspects) from Muswell Hill at the latest fashion fads emanating from Carnaby Street.
Making his feelings known in a series of wonderful Kinks vignettes (‘Dedicated Follower of Fashion,’ ‘Dandy,’ ‘A Well Respected Man,’ ‘Dead End Street,’) he satirises the swinging scene with sharp, clear-minded detachment.
Clear heads become scarce when ‘My Generation,’ moves on to consider the impact drugs had on creativity, the narrative not sure what assertions it wants to make.
The film is less assured still when it switches attention to late-60s America. Sure, a number of British cultural exports make a big impact in the US, including Caine himself – who to his credit never hides his position as elder statesman of the invading force, being at least ten years older than some of the others – but civil rights, Vietnam and assassinations, all inescapable features of American life at the time, are dealt with only in the margins.
There is no indication either of the towering influence Bob Dylan had on the 60s, his undeniable significance restricted to just a cover version.
After the film meanders for fifteen minutes, Caine wraps things up with some final reflections while looking across the London skyline of today (call me old-fashioned, but the London of ‘The Ipcress File‘ looked a more welcoming place).
Over news footage of drug busts involving Mick Jagger, Keith Richards, Marianne Faithful and Donovan, Caine laments:
‘Something special was coming to an end. We had pushed for change – now change was pushing us.’
His point is emphasised by newspaper headlines reporting the death of Rolling Stones founder member Brian Jones from a drug overdose in the final summer of the decade.
Nevertheless Caine refuses to look back in anger, acknowledging they were indeed incredible times.
‘Days I’ll remember all my life,’ as someone once put it.
This article was first published on 29/11/2018.
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NEIL SAMBROOK is the author of MONTY’S DOUBLE – an acclaimed thriller now available as an Amazon Kindle Book.
