| Don Powell | ... | Charlie | |
| Jim Lea | ... | Paul | |
| Noddy Holder | ... | Stoker | |
| Dave Hill | ... | Barry | |
| Tom Conti | ... | Robert Seymour | |
| Alan Lake | ... | Jack Daniels | |
| Johnny Shannon | ... | Ron Harding | |
| Kenneth Colley | ... | Tony Devlin | |
| Anthony Allen | ... | Russell | |
| Sara Clee | ... | Angie | |
| Nina Thomas | ... | Julie | |
| Michael Coles | ... | Roy Priest | |
| Rosko | ... | Himself | |
| Tommy Vance | ... | Ricky Storm | |
| John Dicks | ... | Lenny | |
| Barrie Houghton | ... | Ron | |
| A.J. Brown | ... | Chairman of the Board | |
| Susan Tebbs | ... | Judy Seymour | |
| Patrick Connor | ... | Harold - Charlie's Boss | |
| Anthony Roye | ... | Sommers | |
| Jimmy Gardner | ... | Charlie's Dad | |
| Sheila Raynor | ... | Charlie's Mum | |
| rest of cast listed alphabetically: | |||
| Reginald Bosanquet | ... | Himself - Newsreader (uncredited) | |
| Peter Cellier | ... | Salesman In Car Showroom (uncredited) | |
| Bill Dean | ... | Club Owner (uncredited) | |
| Laurie Goode | ... | Photographer (uncredited) | |
| John Steele | ... | Drummer - Wedding Reception (uncredited) | |
| Irene Sutcliffe | ... | Reporter (uncredited) | |
| Nigel Terry | ... | Assistant Disc Jockey (uncredited) | |
| Rosetta Tropea | ... | Dancer (uncredited) | |
Directed by | |||
| Richard Loncraine | |||
Writing credits(in alphabetical order) | ||
| Andrew Birkin | screenplay | |
| Dave Humphries | additional dialogue | |
Produced by | |||
| Chas Chandler | .... | executive producer | |
| Gavrik Losey | .... | producer | |
| John Steele | .... | executive producer | |
Original Music by | |||
| Noddy Holder | |||
| Jim Lea | |||
Cinematography by | |||
| Peter Hannan | |||
Film Editing by | |||
| Michael Bradsell | |||
Casting by | |||
| Irene Lamb | (casting) | ||
Art Direction by | |||
| Brian Morris | |||
Production Management | |||
| Garth Thomas | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Roger Simons | .... | assistant director | |
Art Department | |||
| Milly Burns | .... | assistant art director | |
| Bill Hearn | .... | carpenter | |
| John Leuenberger | .... | property master | |
| Jeff Woodbridge | .... | construction manager | |
Sound Department | |||
| Ian Fuller | .... | dubbing editor | |
| Tony Jackson | .... | sound mixer | |
| Alan O'Duffy | .... | recording mixer | |
| Stephen Ransley | .... | sound boom | |
| Bill Rowe | .... | dubbing mixer | |
Special Effects by | |||
| Malcolm King | .... | special effects | |
Camera and Electrical Department | |||
| Peter Bloor | .... | electrician | |
| Roy Rodhouse | .... | gaffer | |
| John Stanier | .... | camera operator | |
Editorial Department | |||
| Colin Berwick | .... | assistant editor | |
Music Department | |||
| Chas Chandler | .... | music producer | |
| Noddy Holder | .... | music arranger | |
| Jim Lea | .... | music arranger | |
Other crew | |||
| Zelda Barron | .... | continuity | |
| Clinton Cavers | .... | production assistant | |
| Sally Shewring | .... | production assistant | |
| Marc Wolff | .... | helicopter pilot | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Musical section | IMDb UK section |
The backdrop to this film was so bleak and gritty that one would not have been surprised to have spotted Jack Carter (in his black raincoat) passing by in the background.
With Alan Lake, Tom Conti and Johnny Shannon there to do the real acting, despite the serious nature of the film, Slade's thespian talents were little more important than the Beatles's were in Hard Days Night or the Monkees in Head. Despite that, Noddy Holder and Jimmy Lea (who were the brains behind Slade anyway i.e. they wrote all the songs) both aquit themselves extremely well; successfully creating credible, interesting and well rounded characters. Dave Hill simply played himself (not that that was a problem, as he was, to all intents and purposes, cast as himself anyway). I defy anyone to decipher a complete sentence mumbled by drummer Don Powell, but that oddly adds to his character's charm.
This successful hybrid between Get Carter and Stardust is truly a lost gem, that, despite it's rediscovery and favourable reassessment in the 90's, has still not received the popular recognition it deserves.
Who knows, if this had been a major success (as opposed to a major flop) on it's initial release, would it have been that long before we saw The Sweet doing a bullion job in The Sweeny?