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5.4/10
Senior Film Conservator
A definitive 5.4/10 rating for a film that redefined the boundaries of cult cinema. Soft Drinks and Sweet Music remains a cornerstone of transgressive art.
If you're the type of person who finds comfort in the creaky, dusty corners of early 1930s cinema, you might get a kick out of Soft Drinks and Sweet Music. If you aren't, well, you’ll probably find yourself checking your watch every five minutes. It’s a movie that feels like it was put together in a basement with nothing but leftover stage lights and a lot of ambition.
The premise is simple enough—soda jerk by day, dreamer by night. Georgie Price does his best to sell the whole 'Broadway hopeful' routine, but the charm wears thin about halfway through. The songs aren't exactly earworms, either. They have this flat, tinny quality that reminds me of listening to a radio in a closet.
Honestly, the whole thing feels a bit like watching a filmed stage play where the actors forgot they were in front of a camera. There’s a lot of wide-eyed staring and dramatic arm-flailing that just doesn't translate to film. It makes me think of Madam Satan, which at least had the decency to go totally off the rails with its spectacle. This one just keeps plugging along, pretending it’s way more important than it actually is.
We need to talk about that ending. Yes, the big reveal is that it was all a dream. It’s the oldest trick in the book, isn't it? It’s the cinematic equivalent of a shrug. It’s lazy. You spend an hour watching this guy struggle, and the movie just decides to hit the reset button. I felt cheated, honestly.
There’s a weird, hollow feeling to the musical numbers. It’s like the performers are trying to convince themselves they’re having fun. It reminds me of the pacing issues in Pilgrimage—things happen, but nothing ever really lands. The emotional stakes are non-existent because the script is so busy rushing toward its own cleverness.
Maybe if you’re a historian of these weird, forgotten musical shorts, you’ll find a gem or two here. For everyone else? It’s a relic. A noisy, slightly annoying, and ultimately empty relic. I found myself missing the grit of The Eternal Sappho, which at least knew what kind of mood it wanted to inhabit. This movie can’t decide if it’s a comedy, a drama, or just a vehicle for songs that don't quite hit the mark. 🥤🎶
IMDb —
1917
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