Whatever other angle one might wish to approach this film from — whether its characters’ participation at the vanguard of the late-1970s punk scene in England, or their descent into heroin addiction — Sid and Nancy is at its heart a romance. The two characters are utterly self-absorbed, dangerously self-destructive, and (arguably) of questionable artistic talent, but their commitment to one another endures in a way that’s almost sweet, even when they’re abusing one another — well, up until a point, at least. One thing you certainly shouldn’t look for in this portrait of the Sex Pistols’ bassist Sid Vicious and his romance with Nancy Spungen is for restrained acting: there’s a palpably gleeful embrace of over-acting by all the actors. This doesn’t always pay dividends, but it does create an atmosphere in which any kind of behaviour seems possible, and in which all too much does indeed happen. As the protagonists slide at length into drug addiction, the film starts to take on a sort of hypnotically repetitive quality (there’s a particularly amusing scene where Sid muses that things will be better when they get to New York, to which Nancy replies that they are there already, prompting him to open the window and look out), such that its concluding act of violence seems indistinguishable from the rest of the pair’s grim existence. It’s difficult to say how much of this is true to the actual events, but the film seems to be suggesting that the two were made for each other. Certainly, if they weren’t, it’s difficult to tell for whom they could have been made.
FILM REVIEW: Criterion Collection
Director Alex Cox; Writers Cox and Abbe Wool; Cinematographer Roger Deakins; Starring Gary Oldman, Chloe Webb; Length 112 minutes.
Seen at a friend’s home (streaming online), London, Sunday 18 January 2015.