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The Commitments
This book examines The Commitments (Parker, 1991) for the first time as a film, rather than an adaptation of Roddy Doyle’s bestselling novel, and as a significant cultural event in 1990s Ireland. A major hit in Ireland and around the world, the film depicts the short-lived attempts of an ensemble of young working-class Dubliners to achieve success as a soul covers band, playing the hits of Aretha Franklin, Otis Redding, and others, on a mission to ‘bring soul back to Dublin’. Drawing upon interviews with key figures involved in the film and its music, including Roddy Doyle, Angeline Ball, and Bronagh Gallagher, as well as archival research of director Alan Parker’s papers, the book explores questions of authenticity associated with youth, music, class, and culture, and assesses the film’s legacy for the Irish film industry, Irish music scenes, and Irish youth. It also examines the film’s status as a truly transnational production. This concise, yet interdisciplinary case study will be of interest to students and researchers in popular music, cultural studies, and sociology, as well as film and media studies.
134 pages, Hardcover
Published November 30, 2021
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April 5, 2022
This is one of those books that straddles the line between academia and general interest. It's not only accessible but also thoroughly entertaining and fascinating. You know the research and writing is going to have a really high standard, with books of an academic bent, which is never guaranteed in straight-up non fiction. And indeed the quality of writing in this is really top notch, and doesn't use phrases like top notch. But I should pause here and confess that although I stand behind everything in this review, the author is a good friend of mine.
This book is an exploration of many topics within the context of The Commitments, not just as a movie but as an Irish event that has continued to echo into our cultural fabric. The blurred edges of what exactly constitutes an "Irish Movie" is something I've wondered about a few times, and those edges are somewhat sharpened in these pages.
One of the main topics is authenticity and its intersection with poetic license, which I found particularly interesting. For example there was no question that they needed to record live vocals as the scenes were being shot, as Alan Parker wanted the music and setting to be as authentic as possible, yet (of less authentic importance) the instrument playing was mimed, and some of the locations were roughed up a bit.
The Commitments was set in a time when I was going to raves and listening to nothing but Electronic music, and this very vibrant scene does not exist in the Commitments universe. There is a great Podcast with Annie Mac and Director Steve McQueen in which he goes on a big rant about the journalistic celebration of (white middle class) Britpop during that era, when the most vibrant music scene in the UK at that time was actually Acid House and Jungle. And it was the same in Dublin, the mainstream media, rock journos, radio DJS and the Indie crowd in general snubbed dance music for years, so in some ways The Commitments omitting this music was an accurate depiction at the time. But this book explores many more avenues about musical snobbery, musical choices, tribes and scenes related to the movie.
And there is plenty of fascinating discourse on the political, cultural and socioeconomic dissections made by other critics, particularly in relation to the "Blacks of Europe" Speech. The related section deserves an extra nod for the wonderfully titled "Interpreting interpretations of an interpretation", lolz.
If you've even a passing interest in the intersection of Film, Music, and culture, you'll love this.
This book is an exploration of many topics within the context of The Commitments, not just as a movie but as an Irish event that has continued to echo into our cultural fabric. The blurred edges of what exactly constitutes an "Irish Movie" is something I've wondered about a few times, and those edges are somewhat sharpened in these pages.
One of the main topics is authenticity and its intersection with poetic license, which I found particularly interesting. For example there was no question that they needed to record live vocals as the scenes were being shot, as Alan Parker wanted the music and setting to be as authentic as possible, yet (of less authentic importance) the instrument playing was mimed, and some of the locations were roughed up a bit.
The Commitments was set in a time when I was going to raves and listening to nothing but Electronic music, and this very vibrant scene does not exist in the Commitments universe. There is a great Podcast with Annie Mac and Director Steve McQueen in which he goes on a big rant about the journalistic celebration of (white middle class) Britpop during that era, when the most vibrant music scene in the UK at that time was actually Acid House and Jungle. And it was the same in Dublin, the mainstream media, rock journos, radio DJS and the Indie crowd in general snubbed dance music for years, so in some ways The Commitments omitting this music was an accurate depiction at the time. But this book explores many more avenues about musical snobbery, musical choices, tribes and scenes related to the movie.
And there is plenty of fascinating discourse on the political, cultural and socioeconomic dissections made by other critics, particularly in relation to the "Blacks of Europe" Speech. The related section deserves an extra nod for the wonderfully titled "Interpreting interpretations of an interpretation", lolz.
If you've even a passing interest in the intersection of Film, Music, and culture, you'll love this.
Displaying 1 of 1 review