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Adapted from Colin MacInnes's novel, the story follows Colin (Eddie O'Connell), a young Londoner looking to find his place in the world. A budding romance with the intoxicating Suzette (Patsy Kensit) as well as crises of conscience over social responsibility and financial gain are the plot threads in a story that arguably tackles too many Big Ideas, including adolescent identity, British racism (directed at West Indian immigrants) and class prejudice, and capitalism itself, embodied by David Bowie as unctious, superstar executive Vendice Partners.
In wrestling with such valiant ambitions, Temple and his young cast establish the film's musical soul in a canny synthesis of '80s English pop with postwar bop and the seeds of Mod culture. Onscreen performances by Fine Young Cannibals, Sade, and Kensit, a Bowie production number ("Motivation") that cribs from Busby Berkeley, and a wonderful sequence with the Kinks' Ray Davies as Arthur (a likely nod to his own band's 1969 rock opera) are all well realized. Less obviously, Temple salutes the period's forgotten jazz legacy through a score from the late Gil Evans, and in the jaw-dropping, bravura opening sequence, an extended single-camera journey through Soho set to Charles Mingus's joyous "Boogie Stop Shuffle" that is itself reason enough to see this brave musical. --Sam Sutherland
I also remember the number of times I tuned into MTV for David Bowie's video, which included clips from that movie. I finally saw it on TV and I was blown away.
Colin is the main character and narrator of this story. It's the long hot summer of 1958. Rationing was over, and Britain was rebuilt, thanks to the Marshall Plan--now it was time for Britain to have fun with their own pop culture explosion. Colin has a lot of colourful friends. There's Wizard, pickpocket and entrepreneur out for a fast pound, Cool, the African trumpet player, the flamboyant Fabulous Hotlife, described as "our own Oscar Wilde," Dean Swift, "a modern jazz creation," and Big Jill, a hefty but friendly lesbian. And yes, there's the luscious Suzette, Colin's love interest, whose wanting to make it to the fashion big-time causes a rift between them.
Suzette does make it big, attracting the attention of her boss, Henley of Mayfair (James Fox). She comes onstage in a daring glittering black mini, and does the hot jazz number "Va Va Voom" with some African dancers.
Colin spends time taking snaps at the neon glitter and sights of the London nightlife, but doesn't want to go mainstream. "It's not that I've got anything against money. It's just what you have to do to get it." He eventually does pictures for Harry Charms (Lionel Blair), an oily talent searcher and agent with a penchant for young boys. It's actually gratifying when his protege Baby Boom shoves a microphone full force in his happy sacks.
... Read more ›Despite what many critics may say, this is an awesome movie/musical. It's kind of like "The Music Man" meets "Quadrophenia" meets "Streets of Fire." Very cool indeed.
Story involves the emergence of Soho in the very early 1960's. The whole Mod scene was just catching on and times were about to get very interesting, as the whole Northern Soul and R&B sound was about to explode. Features an awesome David Bowie, and, as always, the dazzling (despite being somewhat talent-hungry) Patsy Kensit. Add to this, an impeccable soundtrack.
I recall that when it came out, I first got the soundtrack lp just for the Vespa on the front. (Since I collect them, as well as Lambrettas). Then, I flipped the lp over and saw the features. Three words sealed the deal for me: "The Style Council." Paul Weller and Mick Talbot are still among my personal idols.
Get this movie. It's very good and I know you won't regret it. Also get for "Quadrophenia" featuring very young "bell-boy" Sting. It too captures the mod scene very well, and the clashes with greasers and the infamous "Rumble in Brighton" of which Sezter (a la the Stray Cats) sang.
Also, check out "Streets of Fire" and "Something Wild." Particularly the latter has an INCREDIBLE soundtrack.
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