The recent death of the legendary British DJ Steve Wright highlighted for the 1980s generation the importance of a voice on the air. Wright let the music communicate separately whilst providing a reassuring voice to the millions who, like me, were entranced by his humour and perspective.
In addition, the effect of Operation Yewtree in dealing with historical controversies (from the likes of Jimmy Saville amongst others) has clouded how we see these mystical individuals, who commanded millions of viewers to the point of superstardom (the golden age of BBC Radio 1 in the 1970s and 1980s. Still, even today, the plethora of talent that dominates the digital airwaves provide reassurance to all whatever time of the day between the classic and modern hits.
DJs have provided a staple of cinema that is in turns entertaining and thought-provoking, with the likes of THE COUCH TRIP, THE FISHER KING, GOOD MORNING VIETNAM and Oliver Stone‘s TALK RADIO, in which Eric Bogosian played a shock jock determined to make his vocal mark on the populace.
Personally, I also highlight – and cannot forget – Adrienne Barbeau as Stevie Wayne (who describes herself to a local admirer as ‘a voice on the phone’) , resident DJ up at the lighthouse on Spivey Point in Antonio Bay in John Carpenter‘s THE FOG (1980), providing decent company to the townspeople on their centennial just as the ghosts of shipwreck past arrive to cause more havoc. Barbeau’s smoky tones were what elevated Carpenter’s now-classic horror film and provided context to the dark goings on as the film progressed.
Writer-director Adam Ethan Crow‘s indie psychological suspense noir WARHOL is associated with the immortal iconic artist in title only. Its’ central idea is dealing in part with that universal hunger for fame and the default fifteen minutes that everyone in some shape or form is allowed in their lifetime.
For American shock jock Dave Dawson (Corey Johnson), it is a vocal drink in the last chance saloon having joined the indie UK radio station Mayhem on a contract with help from producer Jack Rattoran (Gethin Anthony). Dawson, at odds with his wife Kate (Olivia McGuinness) and daughter Maddie (Lara Mount), has a complicated personal life which isn’t really helped by his polarising manner on the mic and a station management who are determined to haul him back in.
Away from the studio, other lives are affected, amongst them Soloman (Kashif O’Connor), homeless but staying strong after a life on the front line has not given him domestic stability. Into his view comes Nile (Araloyin Oshunremi), a troubled gangland aspirant debating whether to take his gun to an innocent.
Outside the station HQ, a trio of people, amongst them a deaf black woman, have placed their hands on a car with a view to winning it as a prize. Only one catch: let go of the paintwork and let go of the prize. The voice is the thing though – and Dave may have one or two dark aces to play….
Interesting analysis of the effect of media manipulation for the sake of ratings in a film that relies as much on the aural as well as the visual, particularly during the riveting final third of the film. The two supporting narratives – Soloman and Nile, the people holding onto the car for the prize – provide additional backbone to the main essence of the narrative and would make for decent features or shorts respectively.
I found the deaf black woman character on the car one of the most fascinating elements of the film and one who would make a great alternative story to tell on screen, reminiscent of Holly Hunter‘s Oscar-winning turn in THE PIANO (1993)
The real heart and focus of this film is in watching DJ Dave, realised impeccably in a brilliant lead performance from Corey Johnson, spout his vitriol (one of my favourite quotes in the film epitomises the whole global virtue signalling mind-set).
WARHOL provides sterling food for thought about what our own value system is in terms of what we consume in and from the media, as well as the power and value of a voice on the airwaves.
A talking point for sure.
WARHOL plays as part of the London Independent Film Festival 2024. For more information including tickets and screenings, please go to:
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