By Noah Redfield

Seven years ago, director Julien Temple released “The Filth & The Fury,” his documentary about the rise and fall of punk pioneers The Sex Pistols. He has recently made another film, “The Future is Unwritten,” about another punk icon: Joe Strummer, frontman of The Clash and later of The Mescaleros, who died unexpectedly in 2002.

The film covers Strummer’s entire life story with interviews from the man himself acting as the narrator. Interviews from family and friends-most of which are conducted at a massive bonfire on the beach, something which Joe was very fond of-provide viewers with the usual anecdotes that accompany all charismatic artists. Temple’s irreverent style puts all the pieces together, and it is here that the real magic comes in.

As with “Filth,” this new documentary is like a moving collage, consisting of songs by The Clash and Woody Guthrie, photographs, interviews, archival footage, cartoons, reggae tunes and even clips from seemingly unrelated movies such as “Raging Bull” and George Orwell adaptations. At times, it can be excessive.

Temple’s hectic style worked brilliantly for The Sex Pistols, because of the theatrical nature of their act. Strummer, however, was famously more down-to-earth, yet the audience only gets this feeling once or twice.

There is never a dull moment in “The Future is Unwritten,” and there is so much going on both in terms of the style and the narrative that it feels twice as long as it actually is. But viewers would’ve been happy if it went on longer.

Unfortunately, this film isn’t flawless and all the flaws-minor as they are-lie in the talking heads. One thing that is loved about “Filth” is how The Sex Pistols themselves make up 90 percent of the interviews. “Future” however, spends much of the time talking to people who weren’t part of the story.

Bono’s presence is expected; he has stated many times that there would be no U2 without The Clash. But who the hell cares if Johnny Depp is a fan? His insufferable pretensions, vacuous points and Jack Sparrow make-up was met with laughter in the cinema. John Cusack and Matt Dillon also only seem to make the cut because of their fame, but at least they knew Strummer. And as much as one loves listening to Martin Scorsese talk about anything, his presence adds nothing.

The interviews aren’t all bad. Clash guitarist Mick Jones is a favorite (and who knew he was so funny?) Topper Headon, whom Joe kicked out of The Clash for his heroin use, also helps provide some insight into Strummer’s character.

Above all, “The Future is Unwritten” makes one wonder where all the Joe Strummers of today are. Temple makes a point in emphasizing what a great person he was, punk legend or not. Toward the end, viewers see an older man hustling in the streets, sheepishly handing out flyers to a gig like anybody else. Steve Buscemi, who co-starred with Strummer in the 1989 film “Mystery Train,” shares a memory of seeing Strummer berate his audience for booing Grand Master Flash, The Clash’s opening act.

Strummer was a real man of the people who encompassed everything we should look for in an artist, especially given the times we live in. And he couldn’t have left at a worse time.

“People can change anything they want to,” a tearful Strummer says as the film draws to a close. “People are out there doing bad things to each other; it’s because they’ve been dehumanized. It’s time to take humanity back into the center of the ring.”

Having worked on “The Filth and the Fury,” an in-depth documentary about the rocky success of The Sex Pistols, filmmaker Julien Temple returns with “The Future is Unwritten,” an intimate portrait of The Clash frontman Joe Strummer. (stadkinowien.at)