Documentaries always have a slant. Narratives that either emerge through the creation of the film or are something that is planned beforehand. Is the film you are making the uncensored truth or pure PR? When this official documentary on artist/musician Genesis P-Orridge was announced it was met online by commentators who ranged from the excited to the dubious. The fact that this film came so soon after the revelations in Cosey Fanni Tutti’s excellent memoir Art Sex Music where she disclosed details of physical and mental abuse, and of a controlling figure who claimed many other people’s inputs as their own (allegations which Genesis denied) then it is easy to see this film as a defence against such accusations. A reputational rehabilitation made about someone who knew their time alive was running short and who needed this as their voice after they had gone.
So which one is this? Well, it is safe to say that you can feel the hand of reputational control by Genesis’ estate over the film which is understandable considering his daughters play such a large role in it. The film also limits the amount of talking heads and recorded interviews from former members of Thee Temple Ov Psychick Youth or Psychic TV (most of which are easy to find online) which creates a protective shell around the film however it is important to say that they do use interviews with Cosey and whilst the allegations are not directly addressed by Genesis the film does draw your attention to them and states that Cosey politely declined to contribute to the film which does give the viewer a certain type of licence to maybe push these to the back of your mind and enjoy the film. Is this manipulation? Maybe, but then again all documentaries are manipulation in some form. There are definitely moments where the darker side of Genesis’ character is hinted at but these are brief.
The structure of the film follows quite a conventional narrative form which is framed by images of the famous Brion Gysin and Ian Sommerville created Dreamachine which acts as a chapter header before we move onto the next section of Genesis’ life. It also has the main interview with Genesis being taken as they are getting a portrait of their torso which shows us the scars, the damage, the modifications and the vulnerability of its host. The point of including this will be obvious for all to see and it is very effective as you really get a sense of someone nearing the end of their life and of someone who is not as threatening as maybe reputation implies.
We start at the start. Genesis as Neil Andrew Megson. All 1950’s black and white. Genesis suffers with asthma and has an attack which hospitalises him creating in him a spark to be different. Sickness forces him to read and according to Genesis, Neil discovers Tibetan culture at the age of eleven. This is followed by diving into books on magick, the occult, and what would be a lifetime’s passion, art. The history of English pop culture is littered with those who started off really unwell and who went on to become something outside of the norm (Ian Dury, John Lydon to name but two). A mixture of 50s societal rules and a chronic illness seems to have spun a few people onto the less trodden path with a desire to smash against any perceived ideals of living.
Megson becomes an artist, becomes Genesis P-Orridge, becomes an English hippy commune-type before a meeting with their hero William Burroughs signals to them a life within transgressive art. This is the moment where the film truly begins to take flight. The photos and footage from COUM exhibitions are still rather shocking and it is easy to see why they rattled the cages of so many. As COUM morphs into Throbbing Gristle we again are given access to some wonderful footage of the iconic band in devastating form. Following their (original) ending, Genesis goes on to form Psychic TV which again comes with some astonishing footage. It is important to remember, however, that this is not a Throbbing Gristle or Psychic TV documentary so you do not get truly into the lives of those involved in these bands. This is the story of Genesis and whilst fans will want more in-depth elements here, the film is all the better for not going down this route as you are not bogged down in interpersonal relationships and you are not second guessing all that you hear because everyone involved (and sadly two vital members of PTV, Peter ‘Sleazy’ Christopherson and Jhon Balance are not here to tell us their side) has their own recollections and agendas. This film is a flicker book through an individual’s life and not a deep dive. The positive part of this section of the film is that Genesis does not use it to point score or claim to be the one-and-only master of these bands. There is no actual point scoring going on in the film and only briefly does Gen talk about the relationship between Cosey and Chris Carter. In fact, the film has no bitterness or braggadocio to it at all which is its strongest point.
The film continues down the linear path of Genesis’ life through police raids, living in Winona Ryder’s house, friendship with Timothy Leary and the meeting of Gen and Jacqueline Mary Breyer (Lady Jaye). This relationship, and the one with their daughters is the true centerpiece of the film and the moment where you really see the person behind the persona. Regardless of image, it is undeniably obvious that Genesis truly loved being a parent and truly loved Jaye. Even though the pandrogony project (where they both got cosmetic surgery to become so alike as to create a third person) is such an important part of their relationship, you get the sense that even without that, these two people were finely in tune with each other and deeply in love.
We know how this story ends. What we don’t know is how we are going to feel and I was surprised to find myself so moved by its conclusion. Genesis’ vulnerability truly comes out in the end and the footage of their last concerts seem sad and somewhat undeserving of someone who, like it or not, has had an undeniable influence on many aspects of culture. People are multifaceted and complex. People can be cruel and also loving, they can lead and be led. This film is not the full, undiluted story of Genesis P-orridge, however, what it does it does really well and at the end of it you get to see someone who seems broken and fragile. Broken by the death of their lover and broken by their failing body.
Review by Simon Tucker
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