Variety has reported that the influential television show “Soul Train” is getting the cinema treatment. According to the article, Warner Bros. has commissioned Malcolm Spellman (“Dead Presidents”) to write while Don Cornelius, the original “Soul Train” host is tied to the project as a producer.
Obviously, the report is newsworthy- the original show ran for 35 years (1971-2006… that’s Mr. Roger’s type longevity), and the film has potential to be an intriguing portrayal of the television show’s racial, musical and choreographic importance. But can a “Soul Train” movie be successful in an environment that embraces the “Stanky Leg” as an acceptable dance trend?
The Soul Train YouTube Channel suggests that “the show offered a window into black culture, introducing a nation to music and dance, which they had never seen.” That sounds accurate, but a quick glance at the nostalgic clips suggest that perhaps the passengers of “Soul Train” transferred rides awhile ago. There’s nary a clip of an artist performance from the mid-90’s through the 00’s.
As soon as the black musical landscape was altered with the introduction and subsequent explosion of Hip-Hop, “Soul Train” had essentially peaked. Yes, there is the classic clip of Kurtis Blow performing “The Breaks,” but as Hip-Hop grew darker and more complex, “Soul Train” understandably had trouble keeping with the times. All of the sudden, the most recognizable black artists in the industry didn’t view a “Soul Train” appearance as a ritualistic necessity.
Unfortunately for the show, the most relevant “Soul Train” reference in Hip-Hop music of the past decade is probably Killer Mike’s shout out on “Bad Day, Worst Day.” Enh… not a good look.
Killer Mike, evidently not a fan of “Soul Train”
But the laws of film vary wildly from the laws of television. Movies can get away with irrelevancy and nostalgia-indulging because they create their own environment, which could definitely spell good news for the creative minds working on the project. Perhaps they can pull a “Ray” and remind America of the love it once had for a musical genre that may be past-its-prime, but is still timeless all the same.
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