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Almost every rock film since A Hard Day's Night in 1964, one of the best, has been at the behest of the band, with the filmmaker working for the management. Despite that, there have been some great ones: D. A. Pennebaker's Don't Look Back about Bob Dylan, or his film about the Rolling Stones, Gimme Shelter; Martin Scorsese's The Last Waltz about The Band; Jonathan Demme's Stop Making Sense about Talking Heads; Taylor Hackford's Chuck Berry, Hail! Hail! Rock'n'roll!

The greater the band or artist, and the more freedom given the director, the better the film. Albert Grossman was one of the hardest men in the music business yet Pennebaker was still able to capture a lot about Dylan. Richard Lester's films with the Beatles were highly scripted and unreal but they managed to communicate much about the personalities of the Fab Four.

One Direction is one of the biggest bands in the world, not just the biggest boy band. According to their management, they've sold 19 million singles and 10 million albums since they came together in 2010, the brainchild of impresario Simon Cowell. Each of the five young men had auditioned separately for The X Factor. None made it through but Cowell says it took him about 10 minutes to decide to put them together.

He is filmed centre-screen, majestic in an opulent house, the picture of success. As producer of the film, he gets to choose how he is presented and by whom. The director is Morgan Spurlock, who made his name eating too much McDonald's in Super Size Me (2004). Spurlock does a professional job here, with both hands tied behind his back. It's a feature-length commercial for a $50 million product. Their first single went straight to No. 1 in Britain. Their first studio album debuted in the US at No. 1. No other British band has done that. That much money buys a lot of control.

I knew virtually nothing about them before seeing this film. I knew a great deal more by the end, none of it credible. That's the problem with a promo film: it's as trustworthy as any other piece of advertising. The content is rigidly and ruthlessly controlled. There is no smoking, swearing, nor even a cross look between the five boys, each of whom appears with distinctive hairdo at the ready at all times.. .

Almost every rock film since A Hard Day's Night in 1964, one of the best, has been at the behest of the band, with the filmmaker working for the management. Despite that, there have been some great ones: D. A. Pennebaker's Don't Look Back about Bob Dylan, or his film about the Rolling Stones, Gimme Shelter; Martin Scorsese's The Last Waltz about The Band; Jonathan Demme's Stop Making Sense about Talking Heads; Taylor Hackford's Chuck Berry, Hail! Hail! Rock'n'roll!

The greater the band or artist, and the more freedom given the director, the better the film. Albert Grossman was one of the hardest men in the music business yet Pennebaker was still able to capture a lot about Dylan. Richard Lester's films with the Beatles were highly scripted and unreal but they managed to communicate much about the personalities of the Fab Four.

One Direction is one of the biggest bands in the world, not just the biggest boy band. According to their management, they've sold 19 million singles and 10 million albums since they came together in 2010, the brainchild of impresario Simon Cowell. Each of the five young men had auditioned separately for The X Factor. None made it through but Cowell says it took him about 10 minutes to decide to put them together.

He is filmed centre-screen, majestic in an opulent house, the picture of success. As producer of the film, he gets to choose how he is presented and by whom. The director is Morgan Spurlock, who made his name eating too much McDonald's in Super Size Me (2004). Spurlock does a professional job here, with both hands tied behind his back. It's a feature-length commercial for a $50 million product. Their first single went straight to No. 1 in Britain. Their first studio album debuted in the US at No. 1. No other British band has done that. That much money buys a lot of control.

I knew virtually nothing about them before seeing this film. I knew a great deal more by the end, none of it credible. That's the problem with a promo film: it's as trustworthy as any other piece of advertising. The content is rigidly and ruthlessly controlled. There is no smoking, swearing, nor even a cross look between the five boys, each of whom appears with distinctive hairdo at the ready at all times.. .

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