‘Fizzy Days’ make mopeds cool in 1975 England

Kris Scholes (right) and Scott Whitley dream of getting a moped in Fizzy Days.
Kris Scholes (right) and Scott Whitley dream of getting a moped in Fizzy Days.

In the last few years I’ve been obsessed with the idea of getting myself a Vespa. I don’t exactly know why. It started with motorcycles, then moved into the Vespa. They’re getting pretty popular here in New York City, and since I only drive around locally on a regular basis, a nice little motorbike would do me just fine.

I haven’t been able to afford one just yet. So in a way, I understood the feeling of the main characters in Mark Millicent’s short film, Fizzy Days. Mind you, it’s not about getting laid for me. My wife probably wouldn’t be too keen on that notion. Plus, I can’t quite see myself plotting a collection of rather lame thefts to support this obsession of mine, either. But I did find myself thoroughly enjoying this 30 minute flick from England.

Fizzy Days follows a pair of teens in 1975 England, as they plot to collect enough money to buy a moped (a.k.a., “fizzy”). This obsession for the motorbike is fueled by the belief that it will get them into the knickers of the local lady folk. Eddy (Kris Scholes) puts his dreams of being a rock star aside and gets a job at the local grocery store, where he skims the goods and sells them himself in hopes of getting cash. But as the summer comes and goes, time is running out, so he plans a heist that will surely get them the moped. Or possibly land them in jail.

Although the concept of a group of not-so-bright guys trying to pull off a crime is not new, the way Fizzy Days keeps it fresh is the time period in which it takes place, as well as the central obsession of the fizzy. Scholes’ Eddy is a fashion-challenged rock star wanna-be, and while he isn’t exactly stupid, the quality of his crimes is not exactly rocket science. I especially love how the character repeatedly steals goods from the store instead of opting to snatch the more helpful cash. But the idea is to not get noticed, so there’s a logic that makes it entertaining.

The performances are all terrific, with only one exception coming very briefly towards the end, but even that isn’t enough to cause a problem. Los Angeles-based writer/director Mark Millicent creates characters and a world that are believable and relatable. There’s some flash to the style, with clever cuts and angles, all of which are pleasant and not distracting.

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