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.

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.

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!

"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.

Soulboy is directed by Shimmy Marcus and written by Jeff Williams. It stars Martin Compston, Felicity Jones, Alfie Allen, Nichola Burley, Pat Shortt and Craig Parkinson. Music is by Len Arran and photography by Vladimir Trivic.

1974, Stoke-On-Trent, and Joe McCain (Compston) is tiring of his humdrum, repetitive life. Then one day, prompted by his work colleague Brendan (Shortt), Joe finds the gumption to seek a date with pretty hairdresser Jane Rogers (Burley). She opens up a new world to him, a burgeoning music scene in the North of England known as Northern Soul, the epicentre of which is the Casino Club in Wigan. But as Joe begins to find his identity in a blast of all night dancing and friendship, drugs, violence and matters of the heart begin to hover over him like dark clouds waiting to unload.

Be Young, Be Foolish, Be Happy.

It's best just to say it straight off, this is hardly a film to do Northern Soul justice. The movement itself is forming the backdrop to a very basic, run-of-the-mill, coming of age romantic tale. Which is sad, that the plot is so weak and poorly written, because the music, dancing and period awareness is joyous. But at least its heart is in the right place, as it's always charming and quite often funny before things get serious in the final third; even if a dance off sequence in said final third is unintentionally daft. From the 70s vibe of Stoke-On-Trent, with the terrace houses and the potteries buildings, to the recreation of Wigan's famous Casino Club (it sadly burnt down in 1981), Marcus and his team really have an eye for period milieu (impressive given Marcus is a born and bred Dubliner). Shaggy hair cuts, platform shoes, tank-tops and Brut 33 aftershave, all keep us firmly in the time of setting, while vintage vehicles, although in short supply because of the small budget, also give the film that vital 70s edge.

Tainted Love.

Performances are mixed, but lead lad Compston (Red Road) does a grand job of conveying a 17 year old guy in limbo. With a killer smile and a good helping of dexterity for the dance sequences, he's engaging and provides a characterisation that's easy to get on side with and follow through to the end. Burley (Donkey Punch) is under written in what is meant to be one of the main parts, but this does allow the lovely Felicity Jones (Cemetery Junction) to shine through and bounce of off Compston's energy to great effect. Parkinson (Control) is badly miscast as dance floor bully Alan, while a fledgling romance between Jo Hartley (This is England) and Pat Shortt (Garage) doesn't offer much to the plot, which is a shame since both are more than capable actors. Vladimir Trivic's photography leans more to grime than glitz, which actually serves the film well, sort of paying homage to the working class roots of the main players. The sound track, picked by the likes of Paul Weller, is excellent.

It's not all it can be, mainly because plotting and writing is too weak. But it has great moments of levity and vitality (watching those kids dance is a real treat), to ensure it's enjoyable and never dull. 7/10