The Public Image Is Rotten

The Public Image Is Rotten is a 2017 compelling documentary-cum-biopic that serves as a veritable treat for punk music lovers, tracking the tumultuous journey of the iconic frontman, John Lydon, and his band -- Public Image Ltd (PiL). Directed by Tabbert Fiiller, the film offers fascinating insights into the incendiary career of a man known equally for his fierce aura and groundbreaking music: the very man who redefined the music space with his obstinate punk spirit.

Built largely around exceptionally candid and riveting interviews with Lydon, the film begins by plunging viewers into the early, tumultuous days of Lydon's first band, the Sex Pistols. The animosity and hurt that was bred during these troubled times almost naturally led to the birth of PiL, a very personal artistic endeavour for Lydon, signifying his struggle for individuality after the iconoclasm of the Sex Pistols. The film judiciously avoids the pitfall of reducing Lydon’s journey into a mere music chronicle, instead, delving deep into the man's back stories, his personal tragedies and challenges that surrounded the formation and evolution of PiL. This includes an examination of Lydon's difficult childhood, as he battles meningitis and sudden memory loss.

Once the context of Lydon's life and career is established, The Public Image Is Rotten shifts its focus onto the trials and tribulations of PiL and its various changing lineups. The film entertainingly captures the rambunctious energy of the band’s early years, unforgettably brought to life through numerous concert footages, backstage access material, and exclusive interviews with band members and collaborators including Michael Alago and Martin Atkins. Particularly striking is the band's refusal to cave into the traditional descriptors of rock and punk, instead choosing to experiment with avant-garde post-punk, dub, and dance, continuously pushing the boundaries of modern music.

Equally enticing are the film's interviews and shots of Lydon in the present day, painting a penetrating picture of an artist who remains as committed, defiant and candid as he was at the height of punk rebellion in the '70s. One can see the subtle transformation of his persona from Johnny Rotten of the Sex Pistols to John Lydon of PiL. Fiiller generously provides Lydon with a platform to decry the music industry, talk about his quest for complete artistic control, and discuss the social issues that have fueled his ingenious songwriting. The director's refusal to shy away from the controversies and candidness of Lydon makes this film appealing not just to PiL fans, but anyone interested in an unfettered examination of a charismatically outspoken artist.

Michael Alago and Martin Atkins do not merely serve as mere background figures in this story. Their interviews, recollections, and insights prove instrumental in piecing together Lydon's wild music journey, providing viewers with a more aspherical understanding of the ever-evolving nature of PiL. Their unique perspectives also shed light on the complex dynamic within the band, which was as much a part of its charm as its constantly innovative sound.

Overall, The Public Image Is Rotten is a celebration of John Lydon's artistic journey, chronologically tracing his rise from the frontman of the perhaps the most significant punk band in history, to the figurehead of a group that was not afraid to experiment and push boundaries. Aided by insightful narrators, fantastic archive footage, and a great soundtrack, Fiiller chronicles the twisted and complex journey of an enigmatic renegade who dared to deviate from the norm of the music industry. This film, then, is not just a tribute to Lydon and PiL; rather, it is part social commentary, part music history, and, perhaps most importantly, a deeply human tale of genius and defiance.