Quadrophenia

One of the most highly regarded cult British films of the 1980s, Babylon comes to DVD for the first time ever in the UK this October courtesy of Icon Home Entertainment, boasting fully restored and remastered image and audio (personally overseen by Chris Menges) plus Audio Commentaries, Interviews and feature on the restoration.
Directed by Franco Rosso (Dread Beat an' Blood), co-written (with Rosso) by Martin Stellman (Quadrophenia; Defence Of The Realm; For Queen And Country), photographed by two-time Oscar winner Chris Menges (The Mission; The Killing Fields) and starring celebrated reggae star and Aswad frontman Brinsley Forde (Here Come The Double Deckers), Karl Howman (Brush Strokes; Mulberry) and Trevor Laird (Doctor Who; Quadrophenia), Babylon is a raw and incendiary film employing an effective mix of music and social commentary to recount the everyday experiences of a small group of working class black youths living in South London in the early 1980s.
Leigh

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Trailer and clips for Babylon, directed by Franco Rosso (Dread Beat an' Blood), co-written (with Rosso) by Martin Stellman (Quadrophenia; Defence Of The Realm; For Queen And Country), photographed by two-time Oscar winner Chris Menges (The Mission; The Killing Fields) and starring celebrated reggae star and Aswad frontman Brinsley Forde (Here Come The Double Deckers), Karl Howman (Brush Strokes; Mulberry) and Trevor Laird (Doctor Who; Quadrophenia).
The film is available on DVD from Italian distributor Raro Video and UK based Icon Home Entertainment.
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tags: cult film, reggae

Leigh

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A live opus, twenty-five years in the making
The 1970s saw the heyday of the rock opera, with musical opuses by Genesis, Queen and Meat Loaf all vying to out-bombast The Who’s seminal Tommy and Quadrophenia and Sir Andrew Lloyd Webber's Jesus Christ Superstar. Lou Reed's contribution to the genre came in 1973 with Berlin, his psychodrama about a drug-addicted couple that mixed the titular German capital’s art-born-of-political-strife with an Les aesthetic—and nearly relegated Reed's post-Velvet Underground solo career to one-hit-wonder status.

Read the full article on pastemagazine.com