In Privilege, Paul Jones, erstwhile singer with the Manfred Mann Group, makes his acting debut. Maybe it’s the fault of writer, director or both but Jones plays the role of the bewildered, disillusioned singer on one note of unanimated distaste.
Trouble with Privilege is that it cannot make up its mind whether it’s a crusading film for the intelligentsia or a snide, ‘with it’ comedy.
A coalition government encourages the violence of the act of pop idol Steve Shorter (Jones) as a means of guiding the violence of Britain’s youth into controllable channels. Then, cynically, it’s decided that his image must be changed and he is taken from the ordinary scene of putting over national-interest commercials and selling consumer-goods to his worshipping fans and exploited by the Church as a kind of godlike hot gospeller.
But the best angles of the pic are those which turn a cynical and only too accurate searchlight on the pop music scene and those who batten on a minimal talent, plus the gullibity of the fans.