INTRODUCTION 17 In this class action, Plaintiffs1 allege that iTunes and iPods are two products that are sold 18 separately by Apple Inc. C 05-00037 JW The Apple iPod iTunes Antitrust Litigation 11 For the Northern District of California United States District Court 10 ORDER GRANTING DEFENDANT’S MOTION FOR JUDGMENT ON THE PLEADINGS AS TO THE FIRST CAUSE OF ACTION FOR VIOLATIONS OF SECTION 1 OF THE SHERMAN ACT AND THE FIFTH CAUSE OF ACTION FOR VIOLATIONS OF THE CARTWRIGHT ACT 12 13 14 15 / 16 I. 274 Case5:05-cv-00037-JW Document274 Filed10/30/09 of 11 1 2 3 4 5 6 7 IN THE UNITED STATES DISTRICT COURT 8 FOR THE NORTHERN DISTRICT OF CALIFORNIA 9 SAN JOSE DIVISION NO. Love’s second movie about hooligans marks a quantum leap forward from the messy, senseless violence of ‘The Football Factory’, but, like Dom, he falls short of his mentor’s demanding standards."The Apple iPod iTunes Anti-Trust Litigation" Doc. McNab is sensitive as Dom, while Paul Anderson offers a subtle twist on Oldman’s violent Bex, but Daniel Mays’s portrayal of Bex’s nemesis, Yeti, fails to equal the intensity of Phil Davis’s earlier psycho.
Awash with the soulful funk sounds of René and Angela, The Gap Band and Yarborough and Peoples, this version replaces Clarke’s gimlet-eyed critique of the Thatcherite ‘loadsamoney’ culture with a naive adolescent’s account of his troubled season running with Kool and the Gang. On another it is a rites-of-passage tale about a young lad who idolises an older, cooler role model, before realising that he’s a bigot. On one level, this is an affectionate celebration of floppy-haired, designer tracksuit-wearing football casuals.
A nostalgic period piece set four years earlier, Love’s version is seen not from the point of view of gang leader ‘Bex’ Bissell (Gary Oldman in the original), but from that of wide-eyed wannabe Dom (Calum McNab). But this affectionate re-imagining strips Clarke’s 1988 football hooligan drama of its fierce political critique, turning it into a sentimental coming-of-age story. In his most mature film to date, Nick Love – the ‘daddy’ of British geezer movies – repays his debt to what he calls the ‘authentic British working-class filmmaking’ of his hero Alan Clarke.
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