5.6/10
206
10 user 1 critic

Mojo (1997)

The sexual rivalries over a new, potentially great rock'n'roll singer between a nightclub owner and a local gangster cause unrest and eventually lead to murder.

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(play), (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
...
Mickey
...
Skinny
...
Baby
Martin Gwynn Jones ...
Sweets
...
Silver Johnny
...
Potts
...
Ezra
...
Sam Ross
Kenneth Bryans ...
Roger
Paul Ebsworth ...
Raymond
Kate Lynn Evans ...
Knuckle Sandwich Girl (as Kate Evans)
...
Knuckle Sandwich Boy
Al Fiorentini ...
Luigi
...
Naked Man
Milly Gregory ...
Guildford Girl
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Storyline

London in the fifties: a young singer is the star in a night club and is the owner's protegé. The latter has also a son, Baby, who, thanks to his father's morbid attentions is considered a halfwit by everybody. An old gay gangster has Baby's father horribly killed since he wants the singer's attentions all for himself. Written by Salvatore Santangelo <pappagone2@libero.it>

Plot Summary | Plot Synopsis

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Drama

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Details

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Release Date:

10 July 1998 (UK)  »

Also Known As:

Soho  »

Filming Locations:

 »

Box Office

Budget:

£2,200,000 (estimated)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Jim Broadbent was offered the role of Sam Ross. See more »

Goofs

After the bike has been thrown off the roof, its position changes by the second shot. The front wheel, which had rolled across the road, is also lying next to the frame by the time a crowd hesitantly approaches. See more »

Connections

Featured in Venice Report (1997) See more »

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User Reviews

 
Lost Mojo
10 November 2004 | by (Saffron Walden, UK) – See all my reviews

'Mojo' is a story of fifties London, a world of budding rock stars, violence and forced homosexuality. 'Mojo' uses a technique for shooting the 1950s often seen in films that stresses the physical differences to our own time but also represents dialogue in a highly exaggerated fashion (owing much to the way that speech was represented in films made in that period); I have no idea if people actually spoke like this outside of the movies, but no films made today and set in contemporary times use such stylised language. It's as if the stilted discourse of 1950s screenwriters serves a common shorthand for a past that seems, in consequence, a very distant country indeed; and therefore stresses the particular, rather than the universal, in the story. 'Mojo' features a strong performance from Ian Hart and annoying ones from Aiden Gillan and Ewan Bremner, the latter still struggling to build a post-'Trainspotting' career; but feels like a period piece, a modern film incomprehensibly structured in an outdated idiom. Rather dull, actually.


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