P.H. Moriarty began acting late in life, having worked for many years in other professions, including as a boxer and a longshoresman. While a film crew was shooting a scene on the English docks one day, the production crew discovered Moriarty working there, and they asked him to act in the film. Thus began his acting career.

Moriarty's film credits include Guy Ritchie's feature film Lock, Stock and Two Smoking Barrels (1998), in which he starred as Hatchet Harry. Moriarty also has had parts in Chaplin (1992), Patriot Games (1992), Jaws 3 (1983), and the Western-inspired sci-fi film Outland (1981).

Featured in the gangsters bar scene where Jimmy is ripped off over the 'blues' for Brighton

JULIAN FIRTH

Julian appears in both London and Brighton scenes of Quadrophenia.

Julian Firth is best known for his role as troubled inmate Davis in the cinematic version of the film Scum. The character of Davis said little due to being generally weak and petrified; he was bullied and victimised by the resident 'daddy' Banks, and later gang-raped in a greenhouse by three inmates with a warder watching and choosing not to intervene. The character killed himself with a razor blade in his cell at the end of the same day.

Firth has since enjoyed a consistent acting career in the theatre, and has appeared in numerous television productions, including Jeeves and Wooster, The Bill, Cadfael and The Young Indiana Jones Chronicles.

ALAN FLETCHER.

Author of the novel Quadrophenia

Alan Fletcher fleshed out the details based upon the Whos Rock Opera Quadrophenia. The result is impressive, painting a picture of a subculture populated by young working-class men who obsess about every single detail of their leisure time, and pose as hard as they can as long as they can:

"I saw the mod she was with, dressed like his clothes were shrunk-wrapped on to him, the way clothes ought to look. He was wearing a full-length maroon suede, a grey woollen polo-neck sweater, blue, faded and patched Levi's and black low slung shoes, slim toed with laces. And as if that wasn't enough, there was his bike: a metallic silver G.T. 200 Lambretta, front and back racks, fly screens, mirrors, crash bars - everything. A Face. He just cruised up and down the street, knowing we were watching and loving it. (pp.87-88)"

Never less than convincing and its desire to be accurate in its portryal of the era can't be faulted: there's even an apology for employing the lyrics to 'My Generation' anachronistically, their use justified by the myth-making power of The Who's music and its retrospective application to the period.

MORE GUESTS TO BE ADDED SOON...............................