Northern Soul is a modern indie British gem if ever I've seen one. I found this film by pure chance and was blown away by its infectious energy, vibrancy and, most importantly, heart. Set in 1970s Lancashire, the film follow a pair of disillusioned, underprivileged youths who find an all-consuming passion for the titular music genre. The film does for this particular subculture what classics like Quadrophenia did for 1960s mods and This is England did for 1980s skinheads, giving us a retrospective snapshot of the '70s working class zeitgeist. Although boomers can always critique the minor factual inaccuracies that I'm sure are present, the point is that the overall look and feel of that era is well replicated.
Film, music and subculture almost always make for a great feel-good recipe and Elaine Constantine's first and so far only feature film excellently captures that sense of optimism, ecstasy and belonging. While most of the actors are rookies, they all give stellar performances and the movie keeps a solid focus on its central relationship between our two leads, Matt (Josh Whitehouse) and John (Elliot James Langridge). It's commendable that Constantine manages to capture the realistic young male experience better than most male directors. Despite coming from a totally different era, I related hugely to this film.
The one blemish is that the film tapers out somewhat with the token drug abuse and friendship fallout subplots that come into play towards the climax, which we've come to expect from these sorts of films. In this case, the usage of these tropes feels somewhat perfunctory and interrupts the otherwise upbeat tone. Of course, stories are nothing without conflict but in forcing these particular genre cliches, the third act loses much of the heart of the previous two.
For a director's cinematic debut, you'd be hard pressed to find a more impressive break than this.
Film Wonderful little film
Northern Soul is a modern indie British gem if ever I've seen one. I found this film by pure chance and was blown away by its infectious energy, vibrancy and, most importantly, heart. Set in 1970s Lancashire, the film follow a pair of disillusioned, underprivileged youths who find an all-consuming passion for the titular music genre. The film does for this particular subculture what classics like Quadrophenia did for 1960s mods and This is England did for 1980s skinheads, giving us a retrospective snapshot of the '70s working class zeitgeist. Although boomers can always critique the minor factual inaccuracies that I'm sure are present, the point is that the overall look and feel of that era is well replicated.
Film, music and subculture almost always make for a great feel-good recipe and Elaine Constantine's first and so far only feature film excellently captures that sense of optimism, ecstasy and belonging. While most of the actors are rookies, they all give stellar performances and the movie keeps a solid focus on its central relationship between our two leads, Matt (Josh Whitehouse) and John (Elliot James Langridge). It's commendable that Constantine manages to capture the realistic young male experience better than most male directors. Despite coming from a totally different era, I related hugely to this film.
The one blemish is that the film tapers out somewhat with the token drug abuse and friendship fallout subplots that come into play towards the climax, which we've come to expect from these sorts of films. In this case, the usage of these tropes feels somewhat perfunctory and interrupts the otherwise upbeat tone. Of course, stories are nothing without conflict but in forcing these particular genre cliches, the third act loses much of the heart of the previous two.
For a director's cinematic debut, you'd be hard pressed to find a more impressive break than this.