By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 13, 2021)

Reporter : Are you a mod or a rocker?
Ringo : Um, no. I’m a mocker.

-from A Hard Day’s Night, screenplay by Alun Owen

Having grown up in the colonies, I didn’t grok “Mods and Rockers” until 1973, the year I bought The Who’s Quadrophenia, Pete Townshend’s paean to the teenage Mod subculture that flourished in the U.K. from the late 50s to mid-60s. The Mods had very distinct musical preferences (jazz, ska, R&B, soul), couture, and modes of transportation:

My jacket’s gonna be cut slim and checked
Maybe a touch of seersucker with an open neck
I ride a G.S. scooter with my hair cut neat
I wear my wartime coat in the wind and sleet

– from “Sea and Sand”, by The Who

On occasion the Mods would rumble with members of another youth subculture who identified as “Rockers”. They were not as tailored as the Mods but had their own uniforms…let’s just say that they were into leather (as in Tuscadero), motorcycles (as opposed to scooters), and 50s rock (Eddie Cochran, Gene Vincent, Chuck Berry, et.al.).

Here come duck-tailed Danny dragging Uncanny Annie
She’s tehone with the flying feet
You can break the peace daddy sickle grease
The beat is reet complete

– from “Sweet Gene Vincent”, by Ian Dury & The Blockheads

By the time the Who were rhapsodizing about the Mods in their 1973 rock opera, the movement was all but relegated to the dustbins of history. In 1979, Franc Roddam’s film adaptation of Quadrophenia was released. Using the 1964 Brighton “youth riots” as a catalyst, Roddam fashioned a character study in the tradition of the “kitchen sink” dramas that flourished in the U.K. in the early 60s. Wonderfully acted by a spirited cast, it’s a heady mix of youthful angst and raging hormones, supercharged by the power chord-infused grandeur of the Who’s songs.

Here is where it gets interesting. Not long after Roddam’s film began to build a cult following in the U.K., a Mod revival took hold. It may be more accurate to call it a “post” Mod movement, as this iteration was more about co-opting the couture than embracing the culture. Did the film inspire this revival? Some have suggested it did.

While the Who was the band of choice for the original Mods, the 80s Mods embraced bands like The Jam, Secret Affair, and The Chords. Not coincidentally, all 3 of those bands are on the soundtrack for writer-director Chris Green’s comedy-drama The Pebble and the Boy.

19-year-old Mancunian John (Patrick McNamee) is not a Mod. But his father was, from the 1980s until his recent unfortunate demise in a traffic accident. John not only inherits his father’s house (his parents are divorced), but his Lambretta scooter, fully bedecked with Mod accoutrements. Coming home after the funeral, John contemplates his father’s bedroom, which is done up like a shrine to The Jam (John only likes “one of their songs”).

Initially, John puts the Lambretta up for sale, but after discovering a pair of tickets in his father’s wartime coat for an upcoming Paul Weller concert in Brighton, he decides that he will ride it to “the spiritual home of the Mods” and scatter his father’s ashes in the sea.

Not long after he leaves Manchester, the scooter displays signs of needing a tune-up, so he looks up one his father’s pals from the Mod days (“Your dad and I first met at a Jam gig in ’81,” he reminisces to John). When his outgoing daughter Nicki (scene-stealer Sacha Parkinson) learns John has Paul Weller tickets, she invites herself along (she has her own scooter). After a few road trip misadventures (usually instigated by the free-spirited Nicki), the pair find themselves short of funds for completing their journey.

The more reserved John wants to turn back, but Nicki suggests they stop in nearby Woking (the Jam’s hometown, of course) to borrow money from Ronnie (Ricci Harnett), another of John’s father’s friends from the Mod days. The somewhat surly Ronnie and his, uh …friendly wife (Patsy Kensit) invite them to stay the night. The next day, John and Nicki hit the road to Brighton, now joined by Ronnie’s oddball son Logan (Max Boast).

Green’s film is like a mashup of Johnathan Demme’s Something Wild and Adam Rifkin’s Detroit Rock City. Green’s writing and directing is reminiscent of Bill Forsyth in the way he juggles low-key anarchy with gentle humor (even when someone says, “Fuck off!” it’s so good natured, somehow). McNamee is an appealing lead (he reminds me of the young Timothy Hutton), but it’s Parkinson’s sly performance as the endearingly boisterous Nicki that kicks the film up a notch. Rubber-faced Boast is another discovery; he’s a riot.

The bucolic English countryside and Brighton seascapes are gorgeously shot by cinematographer Max Williams (not too surprising after seeing that his previous credits include documentaries for Discovery, National Geographic and the BBC). Add a great soundtrack, and The Pebble and the Boy emerges as one of my favorite films of 2021.

“The Pebble and the Boy” premieres November 16 on various digital platforms.