SoulBoy

Look, I get the reviews. It's not great, the plot is wafer-thin, but the music is great and I can understand the constraints of the budget and actually think that the production design was well done. However, the only major criticism of this film is the seemingly-short distance it apparently takes to get from Stoke to Wigan! Do you know how long that would take? Even today you're talking heading north for an hour, in a fast car, up the M6. And as a Stoke native, Martin didn't do too bad with the accent, and he's Scottish. But as for the others, I see that the 'generic Northern' comes out again, when the Stoke accent is far more nuanced and difficult for an outsider. There's definite Derby/Nottingham twang in there, and maybe a bit of a Scouse. Toby Jones gave it a good go in Marvellous. Anyway, worth a watch. Plenty of future stars in there.

The basic scenario of SOULBOY is a familiar one: boy Joe (Martin Compston) meets unattainable girl (Nichola Burley) and follows her up to a club in Wigan that functions as the center of Northern Soul. There he learns how to dance, but while doing so he gradually discovers that plain lass Mandy (Felicity Jones) has fallen in love with him. After Mandy takes an overdose, Joe realizes his true feelings. Back in the club he has an energetic dance-off with smarmy Alan (Craig Parkinson), and emerges triumphant, thereafter to enjoy love with Mandy. The grimy, down-at-heel atmosphere of mid-Seventies Stoke-on-Trent is admirably evoked by director Shimmy Marcus, from the poky two-up, two-down houses to the local pub, where everyone pours pints down without ever seeming to enjoy themselves. Joe's mate Russ (Alfie Allen) has a grotesque dance that he calls the "dying fly," but he can only perform that when he is drunk. Sometimes Marcus overdoes the Seventies aura, such as having politician Enoch Powell speaking on one of the car radios; by 1974 he was virtually a spent force in politics, having resigned from the Conservative Party and joined the Ulster Unionists. Some of the cars seem a little antiquated too, dating from a decade earlier. Once the action shifts to the club, however, the mise-en-scene changes abruptly. Vladimir Trivic's camera admirably captures the phantasmagoria of color, light, bodily movements, sweat and unadulterated fun that characterized the late-night gigs at the club, whose patrons came from all over the country each Saturday night by coach to enjoy the fun. For those of us with longer memories, the set pieces have strong echoes of Saturday NIGHT FEVER (1977) with Joe in the John Travolta role, but that resemblance does not detract from the exuberant staging, in which music and dance combine to create a series of stirring sequences. The final dance-off between Joe and Alan is something to behold: director Marcus uses slow-motion and frequent close-ups to make us aware of the sheer effort involved by the protagonists. The film ends with a series of of short interviews from people - now very much middle-aged - that frequented the club when it was in its heyday during the mid-Seventies. Their reminiscences capture the atmosphere of excitement and daring that was characteristic of the club; no wonder it was named "best disco in the world" later on in the decade, despite its assuming location in a Lancashire industrial town.

I remember the buzz around this film a few years ago because it was shot in Stoke and part financed by the now disbanded Screen West Midlands. With whom I had some professional involvement. I can't add anything to the already excellent user comments about this film but will say what I would do differently were I making it. As other users say its a coming of age story set against the northern soul scene of the mid seventies. I've got interested enough in northern soul to have researched it and Wigan Casino was one of umpteen clubs across the midlands and north of England. My strongest criticism of this film is it doesn't work within its constraints of a low budget and the attempts to re create the Wigan Casino don't convince. They needed a bigger budget, a bigger cast of extras and so on. If I was making the film I'd have thought a lot smaller and set it in a fictional soul club or maybe even a youth club in Stoke on Trent. Stoke had a major Northern soul venue in any case I can t remember the name, as did places like Droitwich and Wolverhampton. When Hollywood do period films they have the budget to chuck at it that it convinces. We can't do it. There's all of three period vehicles that appear in the film. Some of the costumes and detailing are wrong. Did digital watches have alarms in 1974? I doubt it. But this is nonetheless entertaining and worth a watch, especially if you like retro drama. I've seen clips from the forthcoming NORTHERN SOUL film which looks a lot more convincing. I was six years old in 1974 so too young to be part of any scene but I still remember the decade and certain things can transport me back. There's a certain 'look' to the seventies and it needs a budget to achieve a convincing rendition in a film. What I saw of NORTHERN SOUL seemed to have it. SOULBOY is 2/3 of the way there, a commendable effort, worth seeing but in my opinion it would have been better if it had been a little more modest in it's ambitions.

Funny, nostalgic, some good tunes. Boy wants girl, other girl loves boy, boy makes right choice!!!! Just watched this on DVD. I moved away from Lancs to Kent and there isn't the opportunity down here to still go dancing or be involved with the die hard scene. The music was good, some real classics, but it could have been better. The attention to retro clothing, bags, badges and the all important photocopied fliers was good. They got the Casino sign spot on and the bin on Mavis's counter was a touch. They even managed to get in the stairs, although these actually ended at the cloakroom or in the main hall the balcony and next door Mr M's. I cried after some of the documentary footage (which you would only identify if you had been there. Very cleverly done but obvious if you observe the balcony closely.) Two good friends deceased long ago through drugs, lovely people, misguided and sadly missed. Shame it didn't mention post Casino swimming and the obligatory fry up!!! Coaches were good, they did the same to Blackpool Mecca. I don't think that you can actually walk to Stoke from Wigan????..................although it has probably been tried. The dance offs at the end..........tacky. Would never happen,,,,,,,, I often danced in front of the stage!!!!!!!!!!

Despite a decent cast, 'SoulBoy' isn't a worthwhile watch. It portrays a story that I feel like I've seen many times before, with much of it being quite predictable - even taking that element out, it's kinda cringey to watch unfold. Initially, it feels like a cheap attempt at replicating 'Kevin & Perry Go Large' and/or 'The Inbetweeners', though does in fairness deviate from that eventually. The 70s look, meanwhile, does come out well at least. As for the onscreen talent, a pre-'Line of Duty' Martin Compston plays lead ahead of Craig Parkinson, who he'd heavily work with to much greater effect on that aforementioned television show, Felicity Jones, Alfie Allen and Nichola Burley. Bruce Jones, known in the UK for 'Coronation Street', is in there too. It's a shame that I didn't like this 2010 flick, as that's a solid cast list for this sorta film.

Once again we are presented with many different versions of the helpless, bumbling, western male until the lead male 'does a little dance' in order to impress a member of the opposite sex in the hope of some kind of redemption and therefore place in society and reason to exist. The film struggles to find a consistent tone, verging from someone getting a horrible beating in the toilets of the casino to the male lead's inane grinning throughout the film. Further variations in tone range from someone receiving oral sex in a car to real life memories of the northern soul scene shown over the credits. The music takes a back seat to clique-ridden window dressing.

It has taken far too long for a film about Northern Soul to come to fruition. Thankfully when it did happen it was a belter. This is a great movie and they have recreated the time and the passion really well.It's beautifully shot and the grainy film gives it an old feel whilst at the same time allowing the original dance footage to blend seamlessly. The story works well, although I was a little disappointed with the dance off. I am fairly sure it would have just been a fight but by the time this took place I was so invested in the whole feel of the film that I really couldn't care. It didn't spoil the film. The cameo from Fun Lovin' Criminal Huey was a bit out of place. No idea who chose to put him in that role but for me it didn't work. There were great touches of detail from the era, from the splash of Brut to the hideous platform shoes. The dance scenes were superb especially the long shots with a see of bodies bouncing on a crowded dancefloor. I don't know if my enjoyment was heightened because of my love for the scene but all in all this was a superb movie. I just hope it gets the recognition and wide viewing it deserves. Lovely

"SoulBoy" has as its background the Northern Soul scene of the 1970's. It's a dim little picture only partly redeemed by the charismatic presence of the immensely likable Martin Compston and some very decent tunes. As a 'period' picture it's totally manufactured, all the costumes and props looking like they came out of a retro charity shop. It just about passes the time but you can tell there is a much better film lurking in the background trying to get out. It's like a British attempt to resurrect something like "Saturday Night Fever" or "Footloose" and that's where it fails miserably. This is one film unlikely to see the light of day anytime in the future.

There are a lot of white blues musicians heavily influenced by black blues legends and yet ironically display racists views. Cough, Eric Clapton for example although he claims he was drunk at the time. In the same vein, Wigan is one of the most racists town in Britain. I went there once with an Asian friend and it was eye popping the blatant racism on display and the people of Wigan seemed to be rather proud of this. Then again what do you expect when the town's rugby supporters would throw bananas on the pitch for one of their own highly paid black rugby players. This kind of prejudice is always conveniently overlooked when programme makers examine the history of the Wigan Casino. Still the Wigan Casino has attained legendary status as the dance mecca for 1960s American soul music, daring dance moves and later on giving a new lease of life to the soul legends of yesteryear. SoulBoy gives a slice of life in the 1970s when a young lad, Joe (Martin Compston) from Stoke discovers the joys of Soul music, dancing, Wigan Casino, getting girls and popping pills. He falls for a blonde but its a brunette who is his true soul mate. Along the way he crosses swords with a nasty ace dancer who is the boyfriend of the blonde one and Joe's fellow work mate has a thing for the wife from the local chip shop whose husband is the jealous and violent type. There are several cast members who have ended up later in the BBC TV series Line of Duty, so you have here a few familiar faces if you watch Line of Duty. SoulBoy is a low budget movie, filmed in Stoke. It has a slight storyline but there is a lot of heart in the acting. It does try to be a Staffordshire version of Saturday Night Fever although the final dance off does look a little weak. The film did miss a nice humorous twist where it should have had a present day scene when all the now aged dancers from the Wigan Casino days are lining up at the local hospitals waiting for their hip and knee replacement surgery!

Northern Soul is back, it's being pumped into bars and clubs with rising regularity. Understandably with every resurrected craze, it had been converted into a film last year. The story is bland at best, with a predictable and formulaic path. The saving grace is a good performance by Martin Compston and the great soundtrack. Soulboy is branded as a comedy drama, the comedy it speaks of is provided by various cheap jokes throughout, nothing showing real wit or craftsmanship. Cringe worthy dialogue and scenes abound with fairly wooden character acting providing the backdrop for see through storytelling. Joe, as the likely lad, gets mixed up in drugs and the plot takes a dark turn. As it's a light hearted drama, no real harm comes of the actions. I don't want to bash the director and producers of the film as it is brilliantly shot, the dance scenes are a real treat to watch (except for the painful dance off) and everything is set up perfectly for the 70's from the platforms to the flares and the god awful red tank top. Regarding the dance off, maybe I'm wrong, but it seems to me that in Wigan in the 70's it would've been a fight not a dance. The film didn't need that scene but obviously someone had the bright idea of a big Hollywood style ending. This isn't what the audience wanted from a Northern Soul tribute. Despite all of the problems with this film, it is enjoyable, mainly because of the music, some of which I've now added to my collection. If you enjoy Northern Soul then this film will get you yearning for the Casino Club, if you don't then there isn't a great deal else to draw you in as the script and predictability make it a no brainer of a watch. Without the music, this is a poor man's An Education.