FILTER SCREEN
If it ain’t broken
The life and legacy of the great Marianne Faithfull gets the bells-and-whistles treatment. But was it all necessary? Asks Andrew Male.
Faithfull to the end, Marianne in 1965; (above, from top) scenes from Broken English: Courtney Love covering Times Square; Tilda Swinton; Faithfull and George MacKay.
David Redfern/Getty Images
Broken English
★★★
Dirs: Iain Forsyth and Jane Pollard
RUSTIC CANYON PICTURES/MAGNA STUDIOS. S
ANYONE WHO watched 20,000 Days On Earth, the semi-fictionalised 2014 documentary about a day in the life of Nick Cave, will know that the director team of Iain Forsyth and Jane Pollard are artists in thrall to contrivance. In that film, fantasies and imagined scenarios were employed as a means by which to examine the artist and his legacy, and here the unfettered creative duo go further in their desire to disrupt and subvert the bromides of the music biography format.