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

Genres:

Drama

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Details

Country:

Language:

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

Major disappointment-- Butterworth can write, but...
28 February 2000 | by See all my reviews

A clever, economical play founders and collapses in its author's adaptation, in the most obvious way-- Butterworth indulges a character's psychotic eccentricities until a viewer cringes each time he re-enters the picture. Too bad he knocks the film so badly out of whack-- the two stooges whose interplay so delighted NY stage critics become spear-carriers in this rewrite. Harold Pinter has a talent for playing creeps, but the films one redeeming feature is Ian Hart, a good actor who here has gravity and authority, but he can scarcely keep the camera, so inclined is Butterworth to let the nutcase role to show off some more.


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