Writers: Marshall Brickman, Rick Elice (screenplay & book)
Stars: John Lloyd Young, Vincent Piazza, Erich Bergen, Michael Lomenda
Release date: June 20th, 2014
Distributor: Warner Bros. Pictures
Running time: 134 minutes
Best part: The catchy musical numbers.
Worst part: Eastwood’s direction.
Musicals – some people absolutely love them, while others despise them more than death, taxes, and the Republican Party combined. Gen-Y, a group infatuated with bright screens and tight clothes, is a generation with no interest in musical theatre. In fact, most youngsters would take Selena Gomez any day over Jean Valjean. Despite the preceding few sentences’ condescending tone, I must ask the following questions for the sake of objectivity – is this a major issue? Which demographic is the focus of musical theatre? Is anyone to blame the fall of specific genres, trends etc. throughout entertainment history?
Our troupe in action.
With all this in mind, Hollywood has thrown several big-budget musical adaptations at us over the past decade. With everything from Les Miserables, to Moulin Rouge, to Rock of Ages gracing us with their presence, this trend, like any others, has its fair share of spectacular hits and crippling misfires. So, who would be the best person to elevate this genre above its blockbuster-drenched competition? According to…himself, actor/director maestro Clint Eastwood is the man to make this potentially transcendent cultural shift happen. His latest directorial effort – and first musical adaptation – Jersey Boys, despite its charming high points, lands with a deftly sullen thud. Beyond the commendable intentions, this tale of Frankie Valli and the Four Seasons delivers far more false notes than grand crescendos. I’ll stop myself there. Before I delve into my complaints, I’ll describe the topsy-turvy plot. Jersey Boys kicks off with three miscreants struggling keep their heads above water. Stuck in New Jersey, bad-boy Tommy DeVito (Vincent Piazza) and his sidekick Nick Massi (Michael Lomenda) spend their days scoring gigs and breaking the law. Moving through “revolving door” prisons, these boys are destined to either join the mob or die. However, after timid confidant Frankie Valli (John Lloyd Young) wows an audience, their aspirations become reality. Along the way, after the group hires ‘Short Shorts’ creator Bob Gaudio (Erich Bergen), recording contracts and country-wide tours make stars out of our four rapscallions.
Resting on several generations’ love of nostalgia and peace-of-mind slices of entertainment, this Jersey Boys adaptation feels like it’s been released about 5-10 years too late. I don’t mean to illuminate my age or insinuate a hatred of anything even remotely twee. In fact, I recently saw the West End stage production of Jersey Boys in full bloom. The musical – gripping onto its obvious archetypes, fun sense of humour, and lively visuals – sets the right tone for this harmless narrative from the get-go. Inexplicably, Eastwood leaves out everything vibrant and profound about the original material. For his forceful and misguided adaptation, his style drenches this light-hearted tale in a distressing brand of darkness. From the first breaking-the-fourth-wall narration sequence onward, the musical’s iconic tropes clash with the movie’s dour tone and meandering development. Here, the differences between film and theatre production stick out like Valli’s piercing falsetto. This time around, the younger Joe Pesci’s inclusion lacks any sense of verve or sky-high wit. Eastwood, who may be going senile, clings onto the musical’s intended audience whilst neglecting its most valuable conceits. Without stretching the musical’s boundaries, his adaptation takes an inappropriately maudlin approach. At the very least, Eastwood’s comforting themes about the good ol’ days, Americana, empowerment, and masculinity aid this otherwise peculiar adaptation. Regrettably, noticeable in comparing the musical with Eastwood’s efforts, this adaptation clearly isn’t concerned with attracting new followers.
“Oh, by the way, if you’re ever in Vegas, go to a casino. Say the name, “Tommy DeVito”. My hand to God, you’ll be outta there in 12 seconds.” (Tommy DeVito (Vincent Piazza), Jersey Boys).
The amazing Christopher Walken.
Like Walk the Line and Ray, this version follows our famous musicians through poverty, success, temptation, and salvation. With his style known for creating ever-lasting time capsules, this version could, and should, have been an epic tale of devastation, regret, and profound accomplishments. With tinges of Martin Scorsese and David O. Russell shining throughout, these filmmakers would’ve brought more enthusiasm and wonder to this note-worthy concept. With muted colour patterns, an acute attention to detail, and lingering camerawork defining Eastwood’s directorial efforts, his visual palette prevents this adaptation from hitting any high notes. Worst of all, our leads are hampered by dodgy old-age make-up in the final scene. Beyond this, the musical numbers are largely neglected in favour of the by-the-numbers-biopic execution. However, used sporadically throughout, certain songs become shining lights in this morbid affair. Paying homage to everything from the Ed Sullivan show to the Rock ‘n’ Roll Hall of Fame, performances of ‘Sherry’, ‘Walk Like a Man’, and ‘Who Loves You’ provide context and gravitas for Eastwood’s out-of-touch vision. Graciously, like with every Eastwood production, the performers shine throughout. The four leads excel despite the awkward circumstances. Having played Valli on stage, Lloyd Young excels as this heartbroken celebrity figure. In addition, famed character actor Christopher Walken is a delight as high-end gangster Gyp DeCarlo. Meanwhile, Mike Doyle is enrapturing as the group’s “theatrical” manager Bob Crewe.
Whilst I was watching Jersey Boys, I spent a certain period of time imagining what Eastwood’s day-to-day production schedule must’ve been like: At 8am he starts filming, at 3pm he talks to a chair, and at 4: 30pm he goes to bed. I know this is a cruel way to talk about such a colossal Hollywood legend. However, here, like with Invictus, Hereafter, and J Edgar, he’s taken promising material and tarred it with soppy story-lines, leaden pacing, and a bafflingly dark tone. ‘Walk like a Man’? More like ‘Direct like an Amateur’. Sorry, Clint.
Stars: Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson
Release date: October 12th, 2013
Distributors: Momentum Pictures, CBS Films
Countries: UK, USA
Running time: 110 minutes
Best part: Sam Rockwell’s hilarious character.
Worst part: Underused female characters.
Ever since Pulp Fiction‘s effect on the cinematic universe in 1994, many directors have tried to capture that similar balance of violence, wit and references to classic elements of popular culture. Now among several complex and smartly written gangster/assassin comedies following Quentin Tarantino’s masterpiece, Seven Psychopaths sits atop this year’s gritty gangster/assassin character studies above Killing Them Softly, Lawless and Looper. The film is a vibrant and stylish comedic-drama, stretching the credibility of typical cinema tropes in the vein of Get Shorty or even Tropic Thunder.
Colin Farrell & Sam Rockwell.
Martin (Colin Farrell) is a struggling screenwriter living under the famous ‘Hollywood’ sign in middle class Los Angeles. Surrounded by quirky characters while finding inspiration for his latest screenplay, he becomes embroiled in a strange plan helmed by struggling actor Billy (Sam Rockwell) and Hans (Christopher Walken). Having stolen the beloved Shih Tzu of dangerous gangster Charlie (Woody Harrelson), the three bumbling friends must go into exile before the increasingly vicious Charlie can find them. The three friends run into many troubled characters such as Martin’s frustrated girlfriend, a rabbit carrying sociopath (soul singer Tom Waits) and a mysterious assassin known only as ‘The Joker of Diamonds’. Martin must also overcome writer’s block and discover a knock out idea for his next grand story, hopefully before all three end up on the wrong end of a gun.
From the opening scene, involving a witty conversation between two slimy gangsters played by Michael Pitt and Michael Stuhlbarg, director Martin McDonagh quickly becomes the worthy successor to Tarantino. Following his surprise hit assassin-comedy In Bruges, McDonagh has provided a funny, self-reflexive and hyper-stylish crime flick. Similarly to Guy Richie’s Lock Stock and Two Smoking Barrels and Snatch, Seven Psychopathsreveals so many intricate and fun details in every captivating scene. The film finds the right balance of absurdity and intelligence. The intertwining cast of characters creates a rich narrative, effectively placing the screenplay’s effect on cinema in full view. With strange ideas continually incepted into his alcohol induced mind, Farrell’s character carefully lays everything out on the page.Seven Psychopaths creates a subtle and nuanced separation between Martin’s confusing situation and the ideas flowing through each characters’ minds. Their ideas form several stylish and blackly comedic sequences, including an increasingly elaborate shoot out, an Asian terrorist dressed as a priest and character actor Harry Dean Stanton as a creepy figure dressed in black. Despite the inclusion of multiple stories creating a cohesive whole, each short story sorely decreases the film’s sense of urgency.
Woody Harrelson & Zeljko Ivanek.
The film greatly benefits from the inclusion of McDonagh’s derivative yet engaging style. Identifying every psychopath is a fun guessing game, grounding the film in a solid sense of fun straight after every shocking and outrageously clever act of violence. Borrowing similar stylistic techniques from Tarantino and Richie, McDonagh effectively captures the harsh realities of both a life of crime and the Hollywood system. Gangsters, assassins and serial killers soon end up on the wrong side of our three unlucky ‘heroes’. The film is a wink and nudge to its modern cinema audience, de-constructing and subverting significant clichés in one of Hollywood’s most overused film movements. Target demographics, violence, female characters and climactic final shoot-outs are all discussed in a condescending tone. It’s no coincidence that Farrell’s character is named after the director, as McDonagh displays a profound love for influential crime flicks such as Taxi Driver, Bonnie and Clyde and Natural Born Killers.
“You didn’t think I was what? Serious? You think I’m not serious just because I carry a rabbit?” (Zachariah (Tom Waits), Seven Psychopaths).
The A-list cast delivers the hilarious and snappy dialogue with a much needed sense of enthusiasm. Colin Farrell has always played the drunken Irish character type with a wave of charisma. He continues this here, providing many hilarious reactions as the innocent screenwriter surrounded by dog kidnappers, assassins, angry gangsters and suffering friends. Sam Rockwell, impressive throughout his career, goes off like a firecracker as the struggling actor with many questionable hobbies up his sleeve. A sarcastic yet scathingly honest character with a love for his friends, he portrays the average Joe with an obsessive love of girls, guns and blood-soaked mayhem. Christopher Walken provides his most enigmatic performance since Man on Fire as the repressed and passive-aggressive con man. Woody Harrelson provides yet another outrageous and deadly turn as the tough-as-nails gangster with an enduring love for his four-legged friend. While Abbie Cornish, Olga Kurylenko, Kevin Corrigan, Gabourey Sidibe and Zeljko Ivanek provide solid turns in thankless roles.
When is all said and done, Seven Psychopaths comes off like a homage to the world’s biggest entertainment hub. Taking the industry for a spin, this crime/gangster-comedy will rough you up, ask for your money, before showing you a good time. Have fun!
Verdict: A smart, hilarious and self-reflexive gangster-comedy.