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A musical adaptation of Colin MacInnes' novel about life in late 1950s London. Nineteen-year-old photographer Colin is hopelessly in love with model Crepe Suzette, but her relationships are strictly connected with her progress in the fashion world. So Colin gets involved with a pop promoter and tries to crack the big time. Meanwhile, racial tension is brewing in Colin's Notting Hill housing estate...Written by
Michael Brooke <firstname.lastname@example.org>
The character of "Harry Charms" was based on a real-life British manager and impresario of the period, Larry Parnes, who was famous for hiring unknown singers and giving them extravagant stage names (his most famous client was Billy Fury). In 1960 he hired an unknown Liverpool band called The Beatles to accompany one of his lesser stars, Johnny Gentle, on a tour of Scotland, but he decided not to take the Beatles on as clients because he was only interested in handling solo singers, not groups. See more »
When Harry Charms is auditioning young singers with Colin, there is a boom mic visible when Harry and Colin first enter the studio. See more »
I remember that hot, wonderful summer. When the teenage miracle reached full bloom and everyone in England stopped what they were doing to stare at what had happened. The Soho nights were cool in the heat, with light and music in the streets. And we couldn't believe that this was really coming to us at last. Nobody knew exactly why. But after so many dreary years of bombs and blitz and slow rebuilding; no sugar, no jam, nothing sweet anywhere; with the whole English ...
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I suppose I didn't know what to expect, when I sat down to watch this. However, I can't possibly imagine that I would have enjoyed it regardless of the quantity of warnings that I had been showered in beforehand. I haven't read the novel(though I understand that it is far superior to this). The movie is an eccentric little number that at times gets to be downright bizarre. I'm all for surrealism, but here, it just felt like they weren't taking the issues that they were dealing with seriously(which makes it difficult for the audience to), in spite of them being as important as identity, the effect fame has on you, and racism. There are even parts where it appears to be poorly "dubbed", meaning the words spoken and the lips moving do not match. How? Why? What? Did I seriously just write that? Did some of the actors not speak English? On that, the performances range somewhat, and Bowie is *terrible*. Why is this a musical, anyway? Not all of the songs chosen make sense. The pace is fast, at least at points. Plot-wise, this takes a nose-dive about halfway through. This is cheesy, and the score is way over the top. There is sensuality in this, and possibly language. I recommend this to fans of the type of tunes of the period this takes place during(the 1950's), and/or theatre. Anyone else, stay away for your own good. 5/10
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