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