The Decline of Western Civilization

If there was ever cinematic "lightning in a bottle", it would certainly be 1981's THE DECLINE OF WESTERN CIVILIZATION.  I've seen numerous documentaries but very few come close to capturing the spirit of/and time and place of anything like this movie.  Director Penelope Spheeris and crew spent 1979 and 1980  in Los Angeles filming punk bands on and offstage (one group taking up residence in a graffiti strewn old Baptist church), as well as their dedicated fans.  The latter may be scarier, as they spew invective that seems genuine.  The musicians (some might debate the merit of that term) also run off at the mouth but at times I wondered if it was part of the act.

Like when Fear's frontman Lee Ving graphically insults his audience.  Of course the crowd heckles back.  I dunno, there seems to be a wink in Ving's eyes. Germ's lead singer Darby Crash just seems wasted (he died before the film's release).  But those kids? They seem transparent.  Their homophobia, racism, and general nihilism doesn't look or sound staged. One young skinhead is especially alarming.  These interviews are both hilarious and depressing.  The punks may be rallying against the mainstream, but often come off as even bigger assholes than all the jocks and businessmen and nuclear families who comprise their targets.

The members of X get a nice long showcase, and appear to be the most civilized of Spheeris' subjects.  We see them backstage, getting tattoos and talking about the dark realism of their lyrics.  John and Exene might be slightly buzzed but are coherent and ingratiating.  They've lived their songs, like "We're Desperate", which may be prototypical.  They state they make enough money to at least make the rent.   Wonder guitarist Billy Zoom, with his gold locks and clean cut appearance and attitude, seems a bit out of place in this culture.

THE DECLINE OF WESTERN CIVILIZATION, which curiously and appropriately references GIMME SHELTER a few times, also features interviews with punk magazine publishers and venue owners. One states that the term "New Wave" doesn't really exist.  Some are middle aged, recalling that instead of taking razors to their clothing and spiking their hair they ate goldfish back in their day.  Every generation has its method of expressing itself, acting out aggression.  Things got a bit more violent at the Whiskey, though.  This documentary even inspired similar reactions at its screenings, prompting a ban of it by the LAPD.

Many of the performances have thundering power, especially Fear's set, wisely sequenced to close the movie.  One of the most powerful pieces of film I've seen.  The ugliness of the lyrics and Ving's behavior.  Absolutely electric and almost terrifying, like anything can happen.  Spheeris really captured something, and her entire film is perhaps the ultimate sociology document.  Was the punk scene really a permanent way of life? Or just another phase, something from which to move on? Could something be learned from it?

The punk rockers were screaming against society, but also the "classic" rockers and the prog artists (KIng Crimson, Yes, Pink Floyd) who composed lengthy, sometimes bloated epics.  Punk songs were rarely over three minutes, hit and runs that nevertheless got the point across in mono-(or a-)tonal assaults.  You'll be thankful for the occasional onscreen lyrics, especially with Germs.