One of my all time favorites.

It is a performances centric movie

Captivating movie !

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Malcom McLaren died two days ago. He was, basically, a legend in his own mind. This is not to put him down but to say that, like Howard Beale in "Network" or even Barack Obama in the White House, he was up against the BIG BOYS with money. On to the film......A "mocku, rocku, documentary" of the Sex Pistols, it's really up there with "This is Spinal Tap" and "The Rutles"....very enjoyable bullshit, though totally biased. McLaren's view of history and his part in it.Back in 1980 fans of the Pistols (like me) had very limited chances of seeing them and the archival footage here is great!! So is the animation but you do need the inside story to understand it. Younger viewers will not understand who Ronnie Biggs is or why "Belsen Was a Gas" is in such bad taste. Read some history before seeing.The songs are hot and director Julien Temple suffered under McLaren's ideas of what should be in the film. He did much better in "The Filth and the Fury" and for some more accurate views of the era, read "England's Dreaming" by Jon Savage and "Rotten: No Irish, No Blacks, No Dogs" by John Lydon.And for us die-hard fans, youTube has some amazing videos, including the final show at Winterland.

From the epicenter of the cultural globe, four working class teenagers attempted to change the world through music and fashion. It was the final attempt to do so last century, and they failed. Before the dust had cleared, band manager and SEX shop proprietor Malcolm McLaren spent the money The Sex Pistols had earned to make a "mockumentary" about his own role in their success. The film was called The Great Rock 'n Roll Swindle (take the hint) and consists of very little footage of The Sex Pistols actually playing music, and quite a lot of footage of McLaren effectively calling the audience idiots.Cod-surrealist nonsense in which guitarist Steve Jones is a detective on McLaren's tail, soon dissolves so he and drummer Paul Cook can jet off to Rio and spend time with "great train robber" Ronnie Biggs. Ready yourself for the spectacle of three very unappealing men dancing naked to a hideous irony-free version of "Belsen was a Gas" (a song about killing Jews for gold in Bergen-Belsen concentration camp), and another song sung in Ronnie's tone deaf whine which includes the lyrics "God save Myra Hindley, God save Ian Brady" (lyrics that Johnny Rotten would have considered distasteful). The Sid Vicious scenes are few and idiotic. Jumping out of bed in a thong with a swastika over the testicles to sing some bad boy biker song from the '50s. Playing into to the "Punk's a joke" theme of the movie, in an attempt to turn Sid into James Dean. I'm surprised McLaren doesn't take credit for Siddy's death too. The redeeming scenes are those of Sid in Paris and the infamous performance of My Way. The punk rock zeitgeist right there. Mocking an adoring audience before shooting them all. No need for an entire film, just watch that clip on YouTube.From Julien Temple's far superior (and more enjoyable) 2001 documentary followup, The Filth and the Fury, we were given a more balanced/honest view of what transpired in '78. But there were also a number of scenes that I would have liked to have seen in Swindle (as Fury was basically a reediting of the same material). One was an animated Sid complete with Sid's voice acting; "You f*cken betta wat'ch out, alright, or I'll slice you open" - a still of which appeared on the cover of the Something Else 7 inch - a snippet was shown in Fury, but I don't know what context that originally appeared. Was it in original prints, but removed after Sid's death? Was there more? Fury also shed light on the film Who Killed Bambi, which would have been the mock Hard Day's Night movie McLaren was originally intending to make. It starred Sting(!) as a member of a gay New Romantics group, and looked a damn sight more entertaining than Swindle.Sod Swindle, t'is a swindle. If you must, rent The Filth and The Fury and revel in music's failure as a world changing polemic.

To this day, Malcolm McLaren is telling anyone daft enough to believe him that the Sex Pistols were his idea and that the band members were his puppets to be used to make him money. There is a good reason for him doing this, namely that he is a liar.Here are some real facts.* McLaren was actually approached by the band to be manager, not the other way round.* The Pistols were a proper, organic band and not created by McLaren or anyone else. Jones and Cook were childhood friends. Rotten and Vicious went back a long way too. This is something that has led to unfair criticism of the Pistols down the years as they have been likened to manufactured boy bands.* The band and no one else wrote the songs, recorded them, played live, created the publicity and gave the interviews.* McLaren did not instigate the Bill Grundy incident. The Pistols only appeared on the programme because Queen had pulled out. According to the band, McLaren was cowering in the back in case arrests were about to be made.* Johnny Rotten walked out of the band. He was not sacked.* Far from outwitting the Sex Pistols, John Lydon (Rotten) actually successfully sued him in the 1980s for control and a considerable sum of money. Some of the evidence used by Lydon's lawyers was from McLaren's boasting in 'The Great Rock & Roll Swindle'. This would suggest that McLaren is none too bright despite his affectations.* The sackings and subsequent pay offs from A & M and EMI were, again, not engineered, it was merely the way things panned out.* McLaren boasts about the money he made from the band. If he had been competent, he could have made a great deal more. It seems he coudn't even organise gigs properly.* McLaren's claim at the start of the film that he invented punk rock can be disproved in about ten seconds. The Pistols were not the first punk band, merely the most high profile.This is a terrible film. The only parts worth watching are the genuine footage of the band, later put to much better use in 'The Filth And The Fury'.

This is basically just an attempt by Talcy Malc to claim all of the credit for the Sex Pistols. As a movie it barely hangs together. It does give a chance to see some otherwise unavailable concert footage. The bits of "Who Killed Bambi?" that are kept in look far more interesting. I believe that in addition to being scripted by Roger Ebert the direction is by sleaze-king Russ Meyer (I may be wrong there).