Review: Jersey Boys

Released: 20^th June

Certificate: 15

Director: Clint Eastwood

Cast: John Lloyd Young, Vincent Piazza, Michael Lomenda, Erich Bergen, Christopher Walken

Clint Eastwood directs a well-balanced biopic of 1960’s pop group Frankie Valli and the Four Seasons. The film starts with Valli (John Lloyd Young), neé Castaluccio, a teenager in 1950s New Jersey apprenticed to a hairdresser but with a striking voice and an appetite for trouble. The narrative follows the formation, rise and partial disintegration of the group over the years. But interestingly enough, for a story centred on Frankie and his voice, it is predominantly not told from Frankie’s point of view. Instead, the numerous asides which guide the viewer through the narrative are made variously by Guitarist and mentor Tommy (Vincent Piazza), bassist Nick (Michael Lomenda) and keyboard player/songwriter Bob (Erich Bergen). The question of how reliable their insights are as a record of what actually happened forms a central theme of the film, buoyed by Tommy’s assertion that ‘everybody remembers it how they need to.’

Like Walk The Line, the 2005 Johnny Cash biopic, Jersey Boys strikes a good balance between glitz and grit. The tough New Jersey neighbourhood that Tommy, Nick and Frankie hail from is depicted as under the control of mobster Gyp DeCarlo (a typically phlegmatic Christopher Walken). The army, the mob and fame are posited as the only means of ever-desirable escape. This is a sharp contrast to the sequined suits and white smiles worn by the Four Seasons for their television appearances. However, into the second act it’s clear that the grit can creep in almost anywhere, and as cracks begin to appear in the band members’ relationships inside and outside the group, the true drama takes off. The concept that the true antagonist is not (as might be suspected from the early scenes) DeCarlo -a man dangerous enough that the whole barbershop freezes in terror when Frankie nicks his ear with a cutthroat razor- but the desires, pride and jealousy of the quartet, is elegantly played out.

Eastwood’s direction is assured and fits the piece neatly, taking advantage of the added intimacy the camera can bring by following the characters closely as they make their asides, which creates pace and draws the viewer in as both a witness and, perhaps, a co-conspirator. The transfer from stage to screen is managed well, although occasionally perhaps too much lip service is paid to the original: onscreen, Tommy and Frankie having an entire conversation off-mic in the middle of a song stretches credibility. Eastwood is also not afraid to give the music space, and many songs are performed almost in full. The big musical scenes are exhilarating and the sense of excitement and of things just being right goes a long way to explaining why the original line up lasted so long despite escalating rivalries and resentments.

Maintaining most of the line up from the Broadway show (Young, Lomenda and Bergen) was also a good move. The actors know their roles, can deliver musically, and seem to revel in adapting a stage performance to the subtly different demands of a movie set. Although on screen no-one would ever buy John Lloyd Young as sixteen, he skilfully uses physical mannerisms to convey Frankie’s age throughout the film, going from an awkward, schoolboy stoop to poise to visible tension as life in the band becomes more stressful. Although occasional facial expressions are acted a little ‘to the rafters,’ this is generally an impressive portrayal. And he certainly has the voice. The supporting cast also deliver- Piazza is all swagger and attitude as Tommy, whose well-conveyed pride and ambition inspire sympathy and irritation in equal measures. Bergen plays Gaudio in a manner which is charming and clean-cut enough to explain why Frankie becomes drawn to him at the expense of an increasingly erratic Tommy, but with a hint of edge and annoying smugness which also makes Tommy’s animosity towards him understandable. It is a shame we don’t see more of record producer Bob Crewe (Mike Doyle) and Frankie’s first wife Mary (Renée Marino), as both do excellent work with small roles. The former elegantly balances Crewe’s flamboyance with a steely undertone when it would have been too easy to play up the camp for cheap laughs, while the latter takes full advantage of a well written first date scene with the young Frankie before being sadly consigned to the cliché of the long-suffering spouse.

In all, Jersey Boys is an enjoyable spectacle which confidently encompasses music, friendship, rivalry and conflict with humour and aplomb. Even at just over two hours it doesn’t feel baggy, and is only let down by the occasional stagey direction, underwritten female characters and an arguably schmaltzy ending.

Verdict: 4/5

Image source: jerseyboysmovie.com

Nebraska Review

Million Dollar Grand-dad 

Released : December 6th 2013

Certificate : 15

Director : Alexander Payne

Cast : Will Forte, Bruce Dern, Stacy Keach, June Squibb

Plot : Believing he has won $1 million in a online lottery, an elderly Montana pensioner Woody Grant (Dern) decides to go on foot to Nebraska to revive his supposed winnings. Compelled by his persistence and total belief Woody’s son David (Forte) is forced to drive is father to Nebraska.

This was yet another moving and thought and thought provoking instalments from Alexander Payne, who seems to effortlessly produce picture that are inclined to make us stop and think before we get up from the seat in the cinema and walk away. And his latest venture with Nebraska, while may prove slower to watch, and has to be said does not provided many thrills (apart from an old lady telling her family to go and fu*k themselves, have no choice but to love June Squibb), the devil is in the details. I marvel at how Alexander Payne can look at life and project it onto our screens with such a harsh truthfulness. And with Nebraska the effects of which are uplifting in parts, but maybe prove to be too much for what some to consider an entertainment motion picture.

Nebraska is by far Payne richest story so far, with relatable characters shown through Oscar worthy performances, and a very potent decision to produce in black and white.  The most notable performance of which is Bruce Dern , who deservedly revived his nomination for the  Best Actor Oscar. His portal of Woody Grant, is both believable and mesmerising, his frantic desperation of the wealth over weighing his relational mind is beautifully executed, and lead to an almost unbearably truthful ending.

He is supported by brilliant supporting performances from the like of June Squibb who stars very much as the comic relief of the film. With an overly animated character, in scenes almost being seen as a cartoon of a grumpy old woman, is a welcome splash of colour to the film. And also from the main supporting role of Woody’s son played by Will Forte, his kindness and protection of his father proves to be  moving in parts. All brought together to make a utterly compelling cast, who are a joy to watch, even if the film isn’t. Payne again easily manges to search out the depth of our conditions and means. And presentment them to us in a story that is metaphoric and majestic.

Verdict : $1 million dollars, worth ever penny.

Verdict : 5/5

Quote : “I never even knew the son of a bitch wanted to be a millionaire”

Review: The Wind Rises (Kaze Tachinu)

Released: 9^th May

Certificate: PG

Director: Hayao Miyazaki

Cast (English language version): Joseph Gordon-Levitt, John Krasinski, Emily Blunt, Martin Short, Stanley Tucci

Based on the true story of Japanese aircraft designer Jiro Horikoshi, Studio Ghibli’s latest epic follows Jiro from his childhood daydreams of being a pilot through to the second world war.

True to form, director Miyazaki and the Studio Ghibli animators create a visually stunning world. Jiro’s dream sequences swirl with bright colours and huge, impossible flying boats, and the lush visualisation of the plains and buildings of rural and urban Japan respectively are just as impressive. You can practically smell the cut grass and engine oil of the test fields, and Joe Hisaishi’s elegant classical score only adds to the effect.

Like the visuals, the plot of The Wind Rises is epic, thoughtful and ambitious. Japan in the early 20^th Century is a place of contradictions: a burgeoning aeronautical industry is at odds with the oxen used to drag the planes from the factory to the test ground, but at the same time the wood and canvas construction of Japan’s planes lag behind Germany’s all-metal behemoths. Jiro’s journey is reflected in Japan’s accelerating modernisation, with automobiles replacing cattle in the bustling street scenes (which are so detailed I could watch them all day) and clothing shifting from geta and kimono to western-style suits and dresses.

However despite these concessions to the theme of cultural development, Miyazaki appears reluctant to delve too deeply into the conflict faced by idealistic Jiro as he becomes aware that his creations will be used as instruments of destruction when Japan allies with Germany in opposition to America. This isn’t particularly bad in and of itself, however it means that most of the dramatic conflict in the second half is generated by a rather clichéd (though admittedly fittingly classical) tragic love story, which seems to have lost something in the translation. Furthermore, while a lot of effort has clearly been made in the dubbing of the film, the need for the actors’ speech to match the lip movement of the characters in some cases leads to slightly awkward delivery which is all too apparent in the more intimate, conversation-based scenes. As a result of this the romantic subplot feels shoehorned in and extends the film unnecessarily, which coupled with the languorous pace makes it feel overlong.

While it may not be his best, Miyazaki’s latest is still an intriguing and imaginative period piece, elegantly encompassing themes of ambition, persistence and cultural identity in the face of advancing technology.

Verdict: 3.5/5

[Image credit: thewindrisesmovie.tumblr.com]