(2014) Musical (Warner Brothers) Vincent Piazza, John Lloyd Young, Steve Schirripa, Christopher Walken, Johnny Cannizzaro, Michael Lomenda, Lacey Hannan, Joseph Russo, Erich Bergen, Mike Doyle, Donnie Kehr, Freya Tingley, Erica Piccininni, Kathrine Narducci, Lou Volpe, Michael Patrick McGill, Annika Noelle, Renee Marino, Allison Wilhelm. Directed by Clint Eastwood
There are those that say that legends are born, not made. There are those who insist that it’s the other way around. The truth is when it comes to music, it’s a bit of both.
In Belleville, a mostly Italian enclave in Jersey in the early 50s, young Tommy DeVito (Piazza) works as a driver and general go-fer for mobster Gyp De Carlo (Walken) by day and a budding musician with a doo-wop band by night. He’s also friends with Frankie Castelluccio (Young), who would later come to be known as Frankie Valli. Castelluccio is a young man with an angelic voice who De Carlo sees stardom written all over. DeVito insists that Frankie do his vocal exercises and take singing lessons. He also has Frankie act as a lookout man on a botched robbery for which DeVito takes the fall.
After getting back from jail, DeVito – now with Frankie a full-fledged member of the band – along with Nick Massi (Lomenda) – seems content to play pizza parlors and bowling alleys in Jersey, although he knows as well as De Carlo that Frankie could very well be his ticket to the big time. They just need the right songs. Cue Joe Pesci (Russo) – yes, that Joe Pesci – who is friends with DeVito and happens to know a great songwriter named Bob Gaudio (Bergen) who wrote the novelty hit “Short Shorts” for the Royal Teens back when he was 15. Now out of that group, he’s looking for the right fit for his musical future. Introductions are made and the band, then called the Four Lovers, take the name the Four Seasons after a bowling alley where they unsuccessfully auditioned to play.
DeVito also introduces Frankie to Mary (Marino), a loud, brash woman who has no trouble figuring out that the talented Frankie is her way out of Belleville. The two eventually get married. In the meanwhile, Frankie and Gaudio head to the Brill Building trying to find a producer. They run into Bob Crewe (Doyle) who also hails from Jersey and knows Gaudio somewhat, but has met with some success as a producer. He’s flamboyantly gay (in an era when Liberace was considered “dramatic”) but he gives the four kids a break. Before long they’re singing back-up on an array of forgotten songs.
This doesn’t sit well with the group who were promised a demo of their own. Crewe is willing to produce it but he needs $1500 in order to do it and a radio-friendly song to promote. DeVito provides the cash – borrowing from loan shock Norm Waxman (Kehr) – and Gaudio provides the song – a little ditty called “Sherry.”
The song explodes and is the first of three number one hits in a row for the group. They become one of the most popular groups in the country with appearances on American Bandstand and The Ed Sullivan Show. However, everything isn’t cake and roses; the constant touring has estranged Frankie from his children and his wife, who has become an alcoholic. Tommy has been gambling heavily and is in debt to Waxman for a lot more than $1500 – nearly ten times that amount, as well as having been embezzling funds from the band. Tommy is also incensed at the growing closeness between Frankie and Gaudio, who have formed a separate partnership outside of the band. Things will have to come to a head sooner or later.
This is based on the Tony award-winning smash hit Broadway musical and features Lloyd who originated the role of Valli on Broadway and won a Tony for it. Several other actors in the cast were in either the Broadway or touring company of the show. Eastwood, who would seem on the surface to be an odd choice to do a musical (although his biopic of jazz legend Charlie Parker, Bird, remains one of those unheralded classics) wanted stage actors familiar with the material more than he did Hollywood name actors (although he did cast Walken as the genial mobster De Carlo).
There’s a stagey quality here which isn’t entirely due to the acting. While the actors frequently break the fourth wall and speak directly to the audience – part of the original show’s conceit is that it was divided into four parts with each band member “narrating” from his own point of view – that doesn’t harm the movie much. In fact, I found it to be one of the elements that worked best.
Part of the problem is there’s a surprising lack of energy for a musical; that’s because most of the music is not performed in staged numbers. For the most part, they are depicted in the recording studio or on TV programs. It leads to a bit of frustration on the part of the audience who is expecting more music from a musical. Only the last number, essentially a medley of hits that starts off from the original band’s final performance together at the Rock and Roll Hall of Fame induction in 1990 (Massi passed away from cancer in 2000) has that energy and performance that one expects from a musical.
So we have here a cross between a 50’s set goombah period piece and a screen version of a Broadway musical with elements of both filling the screen. I’m not sure which one works best but I think that both could have used a kick in the pants. I left the theater feeling curiously unfulfilled although Da Queen was enthusiastic for her love for the movie.
The music itself is good and Lloyd does an amazing job of creating Valli’s iconic falsetto, one of the most recognizable voices in the history of pop music. It must also be said that I have a sense that those who have seen the musical either on Broadway or in one of the touring productions will more than likely be disappointed by this effort as I was, even though I haven’t seen the musical as of yet.
This isn’t a bad movie by any stretch of the imagination; I just had higher hopes for it that weren’t met. The production values are spot on and although there are a few anachronisms (Valli is depicted singing his hit “My Eyes Adored You” to his daughter as a lullaby fully ten years before the song was actually written) they capture the period and place nicely. There is a bit of Italian-American stereotyping but not as much as you might think. For the most part, it’s entertaining; it just isn’t the kind of film you’ll want to see over and over again – at least not for me.
REASONS TO GO: Some great music. Young captures Valli’s voice nicely.
REASONS TO STAY: Lacks energy. Looks stagey. Occasionally anachronistic.
FAMILY VALUES: A fair amount of salty language, or what they call in Jersey “tawkeen.”
TRIVIAL PURSUIT: At the conclusion of the film, Tommy DeVito says that he’s working for Joe Pesci these days. Pesci played a character named Tommy DeVito in GoodFellas based on a mob associate of Henry Hill, but not named after the ex-Four Season. The Pesci character during this film says “Funny how?” at one point, a reference to the same line Pesci utters in GoodFellas.
CRITICAL MASS: As of 7/6/14: Rotten Tomatoes: 53% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: That Thing You Do
FINAL RATING: 5.5/10
NEXT: Life Itself