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24 Hour Party People

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Template:Short description Template:For Template:EngvarB Template:Use dmy dates Template:Infobox film 24 Hour Party People is a 2002 British biographical comedy drama film about Manchester's popular music community from 1976 to 1992, and specifically about Factory Records. It was written by Frank Cottrell Boyce and directed by Michael Winterbottom. The film was entered into the 2002 Cannes Film Festival<ref name="cannes">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> to positive reviews.

It begins with the punk rock era of the late 1970s and moves through the 1980s into the rave and DJ culture and the "Madchester" scene of the late 1980s and early 1990s. The main character is Tony Wilson (played by Steve Coogan), a news reporter for Granada Television and the head of Factory Records. The narrative largely follows his career, while also covering the careers of the major Factory artists, especially Joy Division and New Order, A Certain Ratio, The Durutti Column and Happy Mondays.<ref name="history">Template:Cite journal</ref>

The film is a dramatisation based on a combination of real events, rumours, urban legends and the imaginings of the scriptwriter, as the film makes clear.<ref name="history"/> In one scene, one-time Buzzcocks member Howard Devoto (played by Martin Hancock) is shown having sex with Wilson's first wife in the toilets of a club; the real Devoto, an extra in the scene, turns to the camera and says, "I definitely don't remember this happening". The fourth wall is frequently broken, with Wilson (who also acts as the narrator) frequently commenting on events directly to camera as they occur, at one point declaring that he is "being postmodern, before it's fashionable". The actors are often intercut with real contemporary concert footage, including the Sex Pistols gig at the Lesser Free Trade Hall.

PlotEdit

In 1976 television presenter Tony Wilson sees the Sex Pistols perform at the Manchester Lesser Free Trade Hall for the first time. Inspired, Wilson starts a weekly series of punk rock shows at a Manchester club, where the newly formed Joy Division perform, led by the erratic, brooding Ian Curtis.<ref name="cannes"/>

Wilson founds a record label, Factory Records,<ref name="cannes"/> and signs Joy Division as the first band; the contract is written in Wilson's blood and gives the Factory artists full control over their music. He hires irascible producer Martin Hannett to record Joy Division, and soon the band and label have a hit record. In 1980, just before Joy Division is to tour the United States, Curtis hangs himself. Joy Division rename themselves New Order and record a hit single, "Blue Monday".<ref name="cannes"/>

Wilson opens a nightclub, the Haçienda;<ref name="cannes"/> business is slow at first, but eventually the club is packed each night. Wilson signs another hit band, Happy Mondays, led by Shaun Ryder, and the ecstasy-fuelled rave culture is born.<ref name="empire"/>

Despite the apparent success, Factory Records is losing money. Every copy of "Blue Monday" sold loses five pence, as the intricate packaging by Peter Saville costs more than the single's sale price. Wilson pays for New Order to record a new album in Ibiza, but after two years, they still have not delivered a record. He pays for the Happy Mondays to record their fourth studio album in Barbados, but Ryder spends all the money on drugs. When Wilson finally receives the album, he finds that Ryder has refused to record vocals, and all the tracks are instrumentals. At the Haçienda, ecstasy use is curbing alcohol sales and attracting gang violence.<ref name="empire"/>

The Factory partners try to save the business by selling the label to London Records. However, Wilson reveals that the Factory does not hold contracts with any of its artists and, therefore, doesn't own a catalogue of recordings. This renders the company ultimately worthless and the deal falls through. While smoking marijuana on the roof of Haçienda after its closing night, Wilson has a vision of God, who assures Wilson he has earned a place in history.<ref name="history"/><ref name="empire"/>

CastEdit

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Cameos

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ProductionEdit

Director Michael Winterbottom held talks with the BBC about financing the film, but the studio "weren’t convinced anyone was interested in Tony."<ref name="Phil Hoad">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Once production got underway, Winterbottom emulated a documentary style of shooting and cinéma vérité, as cast members were encouraged to improvise and blocking was loose or non-existent. The character of Tony Wilson is an unreliable narrator who regularly breaks the fourth wall, referencing Wilson's job as a TV presenter.<ref name="Phil Hoad"/> Real documentary footage of the period was also spliced into the film.<ref name="Derek Elley">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Steve Coogan and Wilson were acquainted before filming, having first met in 1975. When Coogan later worked on a Granada Television late night show, the two men occasionally socialized.<ref name="Paul Morley">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Winterbottom recalled that Wilson helped the production team make connections with "everyone involved in the scene."<ref name="Phil Hoad"/>

Production designer Mark Tildesley had the Haçienda nightclub interior rebuilt to its exact proportions in a Manchester warehouse.<ref name="Phil Hoad"/><ref name="Derek Elley"/> The original building had been demolished and replaced with luxury flats in 2002.<ref name="David Ward">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Coogan, who performed at the club in 1986, "got goosebumps when [he] walked into the re-created Haçienda." To achieve the needed atmosphere, the production ran it as a real nightclub for a couple of nights, and New Order worked the DJ booth.<ref name="Phil Hoad"/>

Reception and awardsEdit

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Roger Ebert gave it four out of four stars, writing, "The movie works so well because it evokes genuine, not manufactured, nostalgia. It records a time when the inmates ran the asylum, when music lovers got away with murder. It loves its characters."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Empire gave it four out of five stars, highlighting the film's director.<ref name="empire">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The film was nominated for the Palme d'Or at the 2002 Cannes Film Festival, competing against other films the same year, including About Schmidt, and The Pianist.<ref name="Palme d'Or">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2019, The Guardian ranked the film 49th in its 100 best films of the 21st century list.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

As usual with anything related to Factory Records, the film received its own FAC catalogue number. 24 Hour Party People is known as FAC 401, being first on the hundred that features other video & multimedia releases.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

SoundtrackEdit

{{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |Template:Short description|noreplace}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=soundtrack24 Hour Party People24 Hour Party People album.jpgvarious artistsTemplate:Start date1976–2002Punk rock, post-punk, Madchester, electronica, houseFFRRPete Tongx|2=</?t[drh][ >]|nomatch=}}|Template:Main other}}Template:Main other}}

The soundtrack to 24 Hour Party People features songs by artists closely associated with Factory Records who were depicted in the film.<ref name="allmusic"/> These include Happy Mondays, Joy Division and The Durutti Column. Manchester band the Buzzcocks are featured, as are The Clash. The album begins with "Anarchy in the U.K." by the Sex Pistols, the band credited in the film with inspiring Factory Records co-founder Tony Wilson to promote music.<ref name="allmusic">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

New tracks recorded for the album include Joy Division's "New Dawn Fades", from a concert performance by New Order with Moby and Billy Corgan.<ref name="allmusic"/>

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Track listEdit

  1. "Anarchy in the U.K." (Sex Pistols) – 3:33<ref name="allmusic"/>
  2. "24 Hour Party People (Jon Carter Mix)" (Happy Mondays) – 4:30<ref name="pitchfork"/>
  3. "Transmission" (Joy Division) – 3:36
  4. "Ever Fallen in Love (With Someone You Shouldn't've)" (Buzzcocks) – 2:42
  5. "Janie Jones" (The Clash) – 2:06
  6. "New Dawn Fades" (New Order featuring Moby) – 4:52
  7. "Atmosphere" (Joy Division) – 4:09
  8. "Otis" (The Durutti Column) – 4:16
  9. "Voodoo Ray" (A Guy Called Gerald) – 2:43
  10. "Temptation" (New Order) – 5:44
  11. "Loose Fit" (Happy Mondays) – 4:17
  12. "Pacific State" (808 State) – 3:53
  13. "Blue Monday" (New Order) – 7:30
  14. "Move Your Body" (Marshall Jefferson) – 5:15
  15. "She's Lost Control" (Joy Division) – 4:44
  16. "Hallelujah (Club Mix)" (Happy Mondays) – 5:40
  17. "Here To Stay" (New Order) – 4:58
  18. "Love Will Tear Us Apart" (Joy Division) – 3:24<ref name="allmusic"/>

Other songs in the filmEdit

Several songs appear in the film but are not on the soundtrack album, including:<ref name="pitchfork"/>

Chart positionsEdit

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Chart (2002) Peak
position

Home mediaEdit

As of November 2023, the film was available for free on Roku, Pluto, Amazon and Tubi streaming networks.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See alsoEdit

ReferencesEdit

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External linksEdit

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