(65%) At fifteen or so minutes in this pushed very few buttons for me, and as I had no idea who Joe Meek actually was, the temptation to give the remaining three quarters a skip and move on passed my mind, but I'm glad that I didn't because this heats up very nicely. Con O'Neill is sublime in the lead role as the hugely hyped-up, at times very angry, yet unquestionably passionate hit music creator during the swinging days of London in the 60's. The backing cast is made up of a host of UK talent, with Kevin Spacey adding even more quality to the production. This may be a bit to clumsily written at times with a script that feels a bit too much like a stageplay rather than a screenplay, but this is still an important piece of well told pop music history.

This is a very quirky film; whether you like it or not, really depends on the mood you are in. In my view it's worth seeing twice before you make up your mind.It did very badly at the box office, which is (in my opinion) more to do with the sophistication and open-mindedness of the British audience, rather than the film itself. It would have been more suited to perhaps a French or Italian audience - as the British audience is not so much into Arty Niche films as Hard Reality or Fantasy.The lead role is superbly played by Con O' Neill, who portrays this unbalanced and complex genius with great skill and imagination.Despite the criticism of his Gloucester accent (one critic described it as Welsh like Rob Bryden), I can tell you that it is very authentic. I spend a lot of time in Gloucester and he sounds spot on. It's a subtle accent to emulate and it is a great achievement to hold onto it throughout the film. The manic scenes are funny, and the tragic scenes are very moving. The final scenes are as good a tragic end as I have ever seen.Perhaps one day this film will get the cult following it deserves - but there will need to be some major expansion of the average cinema-goer's mind to make this happen.

Because I am old enough to remember Joe Meek I approached this film with real relish. That was my first big mistake. Telstar is truly appalling, largely due to the direction of Nick Moran. It is a complete mess from start to finish, lurching around at a frightening speed without any real explanation of what is going on, one minute offering up infantile farce, the next Shakespearian melodrama. It is hard to believe that anyone could have taken such an interesting and sad story and made such a dog's dinner of it. But the director is not the only one to blame. It is hopelessly miscast with not one person looking comfortable in their role. Kevin Spacey looks like he's just wandered into the wrong studio from some sixties sitcom while most of the "band" are totally unbelievable. And Con O'Neil with that horrible squeaky voice delivers a performance so over the top that he makes Brian Blessed look like a restrained actor. The whole sorry mess drags on and on for close on two hours without ever being even remotely involving. I wish there was a star rating below one. Telstar is worthy of it.

I'm a little too young to appreciate Joe Meek's music and it seems to my ears that his music does seem nowadays as if it's from a museum, it sounds so fossilised....and yet, there's no denying the popularity of his rinky-dink pop music from the pre-Beatles era, even achieving the almost unique feat for a British "artist" (he'd have loved that soubriquet, no doubt) of having a number one in America with the irritatingly catchy "Telstar". I some time ago watched the BBC-TV "Arena" documentary on his life and times and my interest was piqued then at this most unusual man.Even if you didn't know Meek's life story, we pretty much get to know from the outset that Joe's final breakdown is going to end in tragedy, with the narrative frequently inserting scenes from his last day leading up to the tragic shooting of firstly his landlady (pretty much an accident, as it appears here), this giving him the final spur to almost immediately afterwards take his own life in equally violent fashion.The film unfolds from this downbeat start into a most entertaining first half as the story charts his rise to mini-Spector status, producing memorable number one hits for John Leyton, The Tornadoes and The Honeycombs. Into Joe's (no pun intended) orbit drift a motley selection of eccentric beat group personnel, with much bawdy humour to the fore. I especially enjoyed Kevin Spacey's spot-on upper-class English accent as Joe's eccentric business manager, military "crusty" Major Banks and there's also a fine turn by Tom Burke as Meek's nervous, sensitive indeed spiritualist in-house songwriter Geoff Goddard. I wasn't quite convinced that Con O'Neill really gave us Meek as he was, although there's no denying his conviction playing. As for the narrative structure, I felt that the the film failed to truly give Meek his due when he finally reached the top and believe his achievements deserved a bit more highlighting, before the round-the-corner Beatles-era of grittier bands with in-built songwriting teams with the flair and talent to display their own writing ingenuity and studio inventiveness, effectively consigned Meek to, quoting Chris Andrews' 1965 hit, a "yesterday man".The second half of the film I think, follows a little too much the fortunes of Meek's fellow-travellers, particularly the ridiculously one-dimensional "little-voice" that was Heinz Burt. Indeed Meek's character disappears from the screen it seems for some time before we're jolted back to the closing scenes and his final demise. His story is undoubtedly a tragic one (suppressed homosexual, thwarted talent, moody artist) but I didn't think the film quite got behind his character enough and thus failed to catch the full parabola of his eventful life.The recreation of the period is great though - from the swinging, jigsaw-style opening credits to the chaotic scenes in Meek's makeshift studio above his landlady's leather goods shop and good acting by almost all on board (helped by the main characters' physical similarity to their real life counterparts) and of course the reproduction of that so distinctive "Joe Meek sound" replete with plinky-plonk organ jungle-drums and loads of re-verb, often married to "death-disc" lyrics.An entertaining step-back-in-time then, if ultimately falling short in its attempt to do justice to the memory of a haunted but very talented and singularly individual pop maverick. To paraphrase Brian Wilson from a little later in the decade, I guess Joe just wasn't made for those times.