The film is a dramatisation based on a combination of real events, rumours, urban legends and the imaginings of the scriptwriter, as the film makes clear.[4] In one scene, one-time Buzzcocks member Howard Devoto (played by Martin Hancock) is shown having sex with Wilson's first wife in the toilets of a club; the real Devoto, an extra in the scene, turns to the camera and says, "I definitely don't remember this happening". The fourth wall is frequently broken, with Wilson (who also acts as the narrator) frequently commenting on events directly to camera as they occur, at one point declaring that he is "being postmodern, before it's fashionable". The actors are often intercut with real contemporary concert footage, including the Sex Pistols gig at the Lesser Free Trade Hall.
Wilson founds a record label, Factory Records,[3] and signs Joy Division as the first band; the contract is written in Wilson's blood and gives the Factory artists full control over their music. He hires irascible producer Martin Hannett to record Joy Division, and soon the band and label have a hit record. In 1980, just before Joy Division is to tour the United States, Curtis hangs himself. Joy Division rename themselves New Order and record a hit single, "Blue Monday".[3]
Wilson opens a nightclub, the Haçienda;[3] business is slow at first, but eventually the club is packed each night. Wilson signs another hit band, Happy Mondays, led by Shaun Ryder, and the ecstasy-fuelled rave culture is born.[5]
Despite the apparent success, Factory Records is losing money. Every copy of "Blue Monday" sold loses five pence, as the intricate packaging by Peter Saville costs more than the single's sale price. Wilson pays for New Order to record a new album in Ibiza, but after two years, they still have not delivered a record. He pays for the Happy Mondays to record their fourth studio album in Barbados, but Ryder spends all the money on drugs. When Wilson finally receives the album, he finds that Ryder has refused to record vocals, and all the tracks are instrumentals. At the Haçienda, ecstasy use is curbing alcohol sales and attracting gang violence.[5]
The Factory partners try to save the business by selling the label to London Records. However, Wilson reveals that the Factory does not hold contracts with any of its artists and, therefore, doesn't own a catalogue of recordings. This renders the company ultimately worthless and the deal falls through. While smoking marijuana on the roof of Haçienda after its closing night, Wilson has a vision of God, who assures Wilson he has earned a place in history.[4][5]
Fiona Allen who worked on the door at the Hacienda, playing herself.
Production
Director Michael Winterbottom held talks with the BBC about financing the film, but the studio "weren’t convinced anyone was interested in Tony."[7] Once production got underway, Winterbottom emulated a documentary style of shooting and cinéma vérité, as cast members were encouraged to improvise and blocking was loose or non-existent. The character of Tony Wilson is an unreliable narrator who regularly breaks the fourth wall, referencing Wilson's job as a TV presenter.[7] Real documentary footage of the period was also spliced into the film.[8]
Steve Coogan and Wilson were acquainted before filming, having first met in 1975. When Coogan later worked on a Granada Television late night show, the two men occasionally socialized.[9] Winterbottom recalled that Wilson helped the production team make connections with "everyone involved in the scene."[7]
Production designer Mark Tildesley rebuilt the Haçienda nightclub interior to its exact proportions in a Manchester warehouse.[7][8] The original building had been demolished and replaced with luxury flats in 2002.[10] Coogan, who performed at the club in 1986, "got goosebumps when [he] walked into the re-created Haçienda." To achieve the needed atmosphere, the production ran it as a real nightclub for a couple of nights, and New Order worked the DJ booth.[7]
Reception and awards
On the review aggregator website Rotten Tomatoes, 87% of 99 critics' reviews are positive, with an average rating of 7.3/10. The website's consensus reads: "The colorful, chaotic 24 Hour Party People nimbly captures the spirit of the Manchester music scene."[6]Metacritic, which uses a weighted average, assigned the film a score of 85 out of 100, based on 29 critics, indicating "universal acclaim".[11]
Roger Ebert gave it four out of four stars, writing, "The movie works so well because it evokes genuine, not manufactured, nostalgia. It records a time when the inmates ran the asylum, when music lovers got away with murder. It loves its characters."[12]
Empire gave it four out of five stars, highlighting the film's director.[5]
The film was nominated for the Palme d'Or at the 2002 Cannes Film Festival, competing against other films the same year, including About Schmidt, and The Pianist.[13]
In 2019, The Guardian ranked the film 49th in its 100 best films of the 21st century list.[14]
As usual with anything related to Factory Records, the film received its own FAC catalogue number – posthumously, in a sense, as Factory had already been bankrupt for nearly a decade. 24 Hour Party People is known as FAC 401, being first on the hundred that features other video & multimedia releases.[15]
The soundtrack to 24 Hour Party People features songs by artists closely associated with Factory Records who were depicted in the film.[16] These include Happy Mondays, Joy Division (later to become New Order) and The Durutti Column. Manchester band the Buzzcocks are featured, as are The Clash. The album begins with "Anarchy in the U.K." by the Sex Pistols, the band credited in the film with inspiring Factory Records co-founder Tony Wilson to devote himself to promoting music.[16]
New tracks recorded for the album include Joy Division's "New Dawn Fades", from a concert performance by New Order with Moby and Billy Corgan.[16]
