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We all know how bio-pics go: you start with a well-known band that is in the public's cultural consciousness and through aging makeup, wigs, and the occasional overacting, you find yourself crying like a baby by the end of it realizing how that one song from the Dirty Dancing soundtrack somehow means more to you now. And while we expect all of this in bright Technicolor and Broadway spotlights, Clint Eastwood of all people takes the musical "Jersey Boys" and keeps it to the Jersey-ian nitty-gritty.
Although The Four Seasons has gone through many member changes, the musical turned movie focuses on Frankie Valli, Tommy DeVito, Nick Massi and Bob Gaudio's professional and personal friendships with each other as well as a love for the music. Unfortunately, the latter is the movie's downfall. For the first half of the movie we are led through the genesis and rotating door of member changes and prison cells but seeing the great potential in John Lloyd Young's (Valli) talent which is a greater catalyst than four guys loving the music. We are given a glimpse into this in the finale when all four get back together for the Rock n Roll Hall of Fame induction and it indeed gave me chills to watch the aged actors sing then morph back into their younger selves during the song and giving their perspective on themselves. It seems "Jersey Boys" in this respect seems to be more about the people than the actual music.
And yet it is the people who make the movie more than the music. Boardwalk Empire's Vincent Piazza plays a relatively antagonistic Tommy DeVito in his tough Jersey exterior but Eastwood doesn't really grace us with anything more than his loan shark problems and party boy attitude that gets him kicked out of the band. John Lloyd Young, as well as Piazza, is sure to receive at least a Golden Globe nomination in turn for his portrayal as the man with the startling falsetto but crippling family problems. Although this is his first time on the big screen, Young has a startling ability to make his eyes slightly water under the influence of Valli's 1970s wig and makeup and you can truly feel the impact of age, losing a daughter and girlfriend all for the price of fame. Rounding out the band is the comic relief of Michael Lomeda (Nick Massi) and the steadfast and passionate Erich Bergren as Bob Gaudio. At times, Mike Doyle (in the role of flamboyant producer Bob Crewe) walks off with the scene in a super-gay awesome finesse. Even Clint's daughter, Francesca, has a small role.
The movie itself, sticking to the stage documentary-like narration, often feels awkward with the occasional band member speaking to the audience. At the beginning, Piazza documents to the camera his point of view how the band got started yet by act three, this type of story-telling almost backfires. With the unfortunate time lapses which also does not help the storytelling, "Nickie" explains the annoyance that is DeVito in having to room with him as well as landing in prison because they did not pay the hotel bill last time they were in that town. This moment in the movie sticks out like a sore thumb and whether it is fault of the screen play or even the stage play, it does not work well on camera by any means.
But despite all of its flaws and clunky thickness, Eastwood does have an eye for keeping it real and with a tough guy masculine silence. The meeting between the band members, DeCarlo and the loan shark who DeVito owes 150,000 dollars to perfectly reflects what it is Eastwood does well with a little hint of over emotion, in part to "Nickie's" hysterical but heartfelt rant in leaving the band. This perhaps is the only time when I felt fully immersed within the movie and feeling everyone's point of view for the thickness to only return afterwards in the hopes to throw three decades into an hour and a half. Perhaps that last phrase is the movie's overall downfall: throwing three decades into an hour and a half. Some bits work and some don't either by the awkwardness of adaptation or even editing choices. The editing earlier on in the movie often feels like a case of exhibition -- is it very necessary to have two scenes at the prison when we need to strengthen the friendship between Piazza and Young?
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| Give these kids a Golden Globe nomination; they don't have to win, just nominate them! |
However, Eastwood did a brave attempt in the making of his first musical going as far as to getting the cast to sing live on set which is most of the time not a rookie thing to do. I also must commend on the use of color and cinematography. But perhaps where he fell flat was employing his staff who worked with him on "Gran Torino" and "Million Dollar Baby" believing that to result in the perfect formula of an "Eastwood musical." It's not going to work entirely! Although the real Bob Gaudio helped production, I believe "Jersey Boys" could have been a little better if Gaudio overruled Eastwood in finding more musical genre-friendly help. Perhaps it was those polarizations that was the sly nod to the stage musical over the credits starting with that Sherry reprise and the camera slowly craning down on a street light with the four boys underneath in their signature red tuxes (which still gives me goose bumps thinking about it!) before all went out with those bright Technicolor and Broadway spotlights. The sequence was cute and fun, although a little clumsy towards the rest of the movie, but to see Walken in character busting a move, it was very rewarding. I only ask that the credit sequence be an option on the DVD, which I will surely watch once it comes out and find myself trapped all over again loving it for something I can't explain yet annoyed at a few nuances.
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