The relationship between Sid Vicious, bassist for British punk group Sex Pistols, and his girlfriend Nancy Spungen is portrayed.The relationship between Sid Vicious, bassist for British punk group Sex Pistols, and his girlfriend Nancy Spungen is portrayed.The relationship between Sid Vicious, bassist for British punk group Sex Pistols, and his girlfriend Nancy Spungen is portrayed.
- Nominated for 1 BAFTA Award
- 4 wins & 2 nominations total
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaGary Oldman wore Sid's real chain necklace in the movie. When doing his research, Sid's mom gave him the necklace to wear during filming.
- GoofsIn one of the early pub scenes, the opening band for the Pistols is supposedly X-Ray Spex, belting out one of their best-known hits: "Oh, Bondage, Up Yours!" However, the lead singer Poly Styrene is depicted as rail thin, with long straight hair and no braces on her teeth; most surprisingly, she is portrayed as being white. In real life, Poly (Marion Eliott) is of Anglo-Somali parentage; and in 1977 she was not model thin, plus she had short curly hair and braces. This is because the group was originally meant to be Siouxsie and the Banshees, but they wouldn't give permission for the use of their songs.
- Crazy credits"And introducing the young Cat Vicious in the role of Smoky, Sid and Nancy's child."
Featured review
I missed SID & NANCY when it was first released. I wasn't expecting much when settling down to watch the DVD. I was pleasantly surprised to find a coherent, energetic but ultimately melancholy study of co-dependency, with two terrific central performances.
We get to know Chloe Webb's child-woman Nancy to a greater extent than we do Gary Oldman's wild-man Sid. Not the actors' fault. In fact it's not a fault at all. There is something inexplicable there. Whatever forces were at play in forming the young man who became Sid Vicious, it's to the credit of Alex Cox and his team that they don't waste time speculating upon them or trying to analyse them. Instead, the film lives up to its title, starting just before the relationship starts and ending just after Nancy's death.
The era in which the film was made is a significant factor in appreciating it. It was, in the UK at any rate, a time when the welfare state that had been so painstakingly put into place began to be systematically unravelled, a land where the notion of Society was belittled, in which hyper-individualism was lauded, where any sense of community was being abandoned, and the search for it becoming a joke. WALL ST, the'hero' of which was to famously declare Greed to be good, was released the year after SID AND NANCY. I remember all that only too well. And of course it's not over yet: the unravelling continues.
Sid and Nancy meet in a frenzy and finish in a fog. In between they shore each other up as best they can, two bits of flotsam on an indifferent sea. We're shown only a little of where Sid came from, mercifully not enough to help us theorise about how he came to be the embodiment of anarchy. Instead, through Oldman's bravura, we see his unmitigated charisma, at which the film's unctuous Malcolm McClaren (played by David Hayman) smiles knowingly and which he merrily exploits. We do see Nancy in the context of her family, but again, instead of attempting to use this encounter to explaining her, Cox gives us a sense of how pleased the family was to get rid of her. If Romeo and Juliet had been like Sid and Nancy, the Montagues and the Capulets would have paid to get them married and out of Verona altogether.
We get to know Chloe Webb's child-woman Nancy to a greater extent than we do Gary Oldman's wild-man Sid. Not the actors' fault. In fact it's not a fault at all. There is something inexplicable there. Whatever forces were at play in forming the young man who became Sid Vicious, it's to the credit of Alex Cox and his team that they don't waste time speculating upon them or trying to analyse them. Instead, the film lives up to its title, starting just before the relationship starts and ending just after Nancy's death.
The era in which the film was made is a significant factor in appreciating it. It was, in the UK at any rate, a time when the welfare state that had been so painstakingly put into place began to be systematically unravelled, a land where the notion of Society was belittled, in which hyper-individualism was lauded, where any sense of community was being abandoned, and the search for it becoming a joke. WALL ST, the'hero' of which was to famously declare Greed to be good, was released the year after SID AND NANCY. I remember all that only too well. And of course it's not over yet: the unravelling continues.
Sid and Nancy meet in a frenzy and finish in a fog. In between they shore each other up as best they can, two bits of flotsam on an indifferent sea. We're shown only a little of where Sid came from, mercifully not enough to help us theorise about how he came to be the embodiment of anarchy. Instead, through Oldman's bravura, we see his unmitigated charisma, at which the film's unctuous Malcolm McClaren (played by David Hayman) smiles knowingly and which he merrily exploits. We do see Nancy in the context of her family, but again, instead of attempting to use this encounter to explaining her, Cox gives us a sense of how pleased the family was to get rid of her. If Romeo and Juliet had been like Sid and Nancy, the Montagues and the Capulets would have paid to get them married and out of Verona altogether.
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Details
- Release date
- Country of origin
- Language
- Also known as
- Sid & Nancy
- Filming locations
- Oakland Court, Holland Park, London, England, UK(John & Sid vandalise a Rolls Royce)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $4,000,000 (estimated)
- Gross US & Canada
- $2,826,523
- Opening weekend US & Canada
- $50,829
- Oct 19, 1986
- Gross worldwide
- $2,850,707
- Runtime1 hour 52 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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