Movies about music are a minefield, whatever the genre (for Western Art Music, see e.g. Maestro, Philharmonia, Endeavour). But rewatching The Commitments (Alan Parker, 1991), based on the book by Roddy Doyle, I relished its charm just as much as when it first came out—though it’s less obviously political than Brassed off, and stands in total contrast to Parker’s 1988 film Mississippi burning.

Set in working-class north Dublin, The Commitments evokes the ecstasy and drudge common to a wide range of performers around the world (for a fine ethnography, see The hidden musicians; see also Deviating from behavioural norms), with an inexperienced cast (always a good sign) is full of character, led by Andrew Strong as larger-than-life singer Deco Cuffe.

The Irish are the blacks of Europe. Dubliners are the blacks of Ireland. North Dubliners are the blacks of Dublin.

See this review by Roger Ebert, wiki, and this post. For the making of the film, click here and here, as well as a recent edition of the BBC Radio 4 series The reunion.

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The film works both in its own right, as a portrayal of the lives of struggling young Dubliners, and as a tribute to the great era of soul (cf. Detroit 67, Memphis 68, Northern soul). It leads me to some original tracks that had (predictably) escaped me, starting with two songs of Wilson Pickett—Mustang Sally:

and In the midnight hour:

Try a little tenderness—Otis Redding:

Take me to the river—Al Green:

Chain of fools—Aretha Franklin (and as if I need to remind you of her Amazing Grace, here it is again!):

Also from Aretha, I never loved a man:

and Nowhere to run—Martha and the Vandellas: