The Runaways

The Runaways

Joan Jett loves rock and roll; Cherie Currie loves the lifestyle.

(2010) Musical Biography (Apparition) Kristen Stewart, Dakota Fanning, Michael Shannon, Danielle Riley Keough, Scout Taylor-Compton, Tatum O’Neal, Stella Maeve, Brett Cullen, Alia Shawkat, Johnny Lewis, Hannah Marks, Jill Andre. Directed by Floria Sigismondi

The world of rock and roll is a harsh one, full of broken promises and shattered dreams. Every so often, a performer or a band will break through and change things; on other occasions, a performer or a band will succumb to the excesses of the industry. Sometimes, a performer or a band will do both.

Joan Jett (Stewart) is a young girl who idolizes Suzi Quatro and Keith Richards. She’s an adept guitarist but nobody will take her seriously and she longs to be in a rock and roll band. She meets Kim Fowley (Shannon), a fixture on the Sunset Strip in the 1970s-era Los Angeles when this all took place. Fowley sees himself as an acute judge of talent and a canny promoter who understands what sells. He longs to be a major player in the music business, something he is not at the time. He likes Jett’s look and her dream of  fronting an all-woman rock band – there were none at the time that had any success, although in pop music the girl groups of the 60s (Martha and the Vandellas and over in Motown the Supremes) had met with success. However, these were women who projected a certain safe and virtuous image. Fowley – and Jett – wanted danger and subversion. Fowley hooked up Jett with Sandy West (Maeve), a drummer. The two began practicing together but the band needed fleshing out.

Cherie Currie (Fanning) is Bowie-obsessed and performs one of his songs dressed just like him at a school talent show, getting booed by her audience and flipping them off in retaliation. Her home life is falling apart at the seams – her dad (Cullen) is an alcoholic, spiraling slowly to an inevitable end and her mom (O’Neal) has fled to Indonesia to escape, leaving her with her twin Marie (Keough) as essentially sole support. Fowley discovers her and brings her to his trashy trailer to perform with the band. At first Cherie is stiff and hesitant but with Fowley pushing her/abusing her into the right attitude, her natural performing talent, sexuality and charisma come to the fore. “It’s not women’s lib,” Fowley crows, “Its women’s libido!” The remaining spots in the band are filled up with guitarist Lita Ford (Taylor-Compton) and bassist Robin Wolf (Shawkat).

The group plays a series of gigs in a series of depressing dives before Fowley gets them signed to a major label. A song, “Cherry Bomb” becomes a minor hit (although it becomes a big one in Japan) and the band begins to headline gigs and support major acts in stadiums. They go to Japan where they are mobbed by rabid fans and all of a sudden this group of young girls – all in their mid-teens at the time – suddenly are cursed with the success of the rock and roll lifestyle; plenty of sex, plenty of drugs, and not so much rock and roll. Eventually, the curse of success will overcome the band, with internal musical differences and Currie’s drug habit proving to be too much for the band to survive.

Director Sigismondi makes her feature debut here after mostly directing music videos, as well as working in fine arts (she’s a talented photographer and sculptor as well) and to her credit she makes the most of a very little. She manages to capture the look and feel of both the L.A. suburbs in the 70s (I should know – that’s where I lived at the time) and the decadent scene on the Sunset Strip.

I’ve been a big fan of Fanning for a long time and she doesn’t disappoint here. She captures the nature of the vulnerable and sometimes lost Currie nicely, showing her as clay to be molded by Fowley and drifting off-course, prey to the temptations of the road. As her family life disintegrates, she becomes more and more lost. The movie to a large extent focuses most on Currie (but to be fair, she did write the biography that the movie is based on) and Fanning handles the load nicely.

Stewart, best known as the angst-ridden Bella Swan in the Twilight franchise is surprisingly rough-edged here, showing the force-of-nature strength of Jett but also her bisexual tendencies. There is a fairly lurid make-out scene between Jett and Currie which comes off as exploitative, but given the nature of the band and the era, kind of makes sense as something like it would appear in a 70s “B” movie, which this closely resembles in tone. Stewart shows more range here than she has previously, forcing me to revise my opinion of her as a somewhat one-note actress. I look forward to seeing more from her along these lines.

Shannon is a terrific actor who has one Oscar nomination to his credit and has the chops to garner more of the same should he get the right roles. This one is not, but he does capture the manic and manipulative nature of Fowley who yearned to be a mover and a shaker, but whose claim to fame would always be this band. He often claimed he assembled the Runaways both conceptually and practically, a claim he has backed off from in recent years. Shannon is riveting in the part, capturing both the yin and the yang of Fowley who could be supportive one moment and abusive the next.

In fact, in many ways this movie sugarcoats the Runaways story, leaving out allegations of sexual and physical abuse around the band. It also leaves out the backstory of the rest of the band (in the case of Ford, at the real Lita’s request) in focusing on the two leads. The filmmakers do a disservice to the band in essentially portraying them as a two-woman creative team (in reality, West and Ford co-wrote most of the songs with Jett and Fowley). While it’s true Jett and Currie were the heart and soul of the band, it would have been nice to include more of the rest of the band’s story in the movie, particularly that of West who passed away from lung cancer just prior to the beginning of filming.

The legacy of the Runaways is undeniable; Joan Jett remains a rock and roll icon, an inspiration to young female rockers everywhere. It’s a bit of a crying shame that they remain largely unknown here and those who do know them mostly know them for “Cherry Bomb,” their signature hit. They were certainly much more than that, and anyone who has seen their Showtime documentary (which includes some incendiary performance footage) will attest to that. The movie picks up part of their essence – enough to make it worth seeing. I just wish we would have gotten a little bit more of it.

WHY RENT THIS: An authentic recreation of the time and the scene. Surprisingly gritty performances from Stewart and Fanning. Shannon shows a good deal of charisma.

WHY RENT SOMETHING ELSE: The movie leaves out a good deal of information, and fictionalizes or trivializes the group’s achievements.

FAMILY VALUES: There are occasionally graphic depictions of teen sex and drug use, as well as a whole lot of foul language.

TRIVIAL PURSUIT: Jackie Fox, the actual bass player for the Runaways, declined to give the producers of the film the rights to her life story so a fictional character was introduced to be the Runaways bassist (and ironically, has no lines in the film); Lita Ford also declined to give her rights to the producers, but did meet with Scout Taylor-Compton prior to filming and declared that even if the film was awful, Taylor-Compton at least did her character justice.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $4.7M on a $10M production budget; the movie was a flop.

FINAL RATING: 7/10

TOMORROW: A Single Man

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