Although music forms a huge part of many of my novels, I don’t, as a rule, like traditional musicals. People bursting into song, unless it’s played for laughs (as in Cannibal: the Musical, an early film by South Park’s creators), overwhelms my suspension of disbelief. Even something as monumentally clever as Little Shop of Horrors stops dead (and never recovers) for the cliche ballad, “Suddenly Seymour.”
What I do like are movies about musicians, especially rock and roll musicians. They provide a realistic context for all that singing and dancing. And the best ones feature music that tells its own story, that fits seamlessly into the tale being told during the non-singing bits.
Here are a few great ones that you might not have heard about. (I’m not going to get into biopics like Walk the Line, Ray or Great Balls of Fire, or movies where stars play themselves, like A Hard Day’s Night and Purple Rain. Those are separate topics.)
My favorite is probably Eddie and the Cruisers. You can read my thoughts on the novel here. The movie, while shying from the book’s more interesting concepts, presents many scenes (and a lot of dialogue) verbatim, and it does a good job capturing the book’s atmosphere. The music, by East Coast native John Cafferty and the Beaver Brown Band, is also top-notch, embodying the Jersey Shore sound (back when that term had nothing to do with some of the worst people ever to make millions on TV) and yeah, echoing early Springsteen, but if you’re doing a movie about a legendary New Jersey rock star, that’s hard to avoid. Still, not everyone loves it, so I’d recommend making your own decision.[media url=”http://www.youtube.com/watch?v=dmf8rZfGTKQ”]
A close second is Phantom of the Paradise, Brian de Palma’s classic glam-rock parody. Paul Williams, who also plays the film’s villain, composed all the songs, and they’re wonderful in the way they reference both the plot and each other (“Faust,” a deadpan parody of serious singer-songwriters, is itself parodied within the film by “Upholstery”). And each musical number is, for the most part, set up so that there’s always “source” music (i.e., an onscreen explanation for where the music is coming from), something you seldom get in traditional musicals.[media url=”http://www.youtube.com/watch?v=j1PvQ8py9Bc”]
Grace of my Heart is loosely based on the life of Carole King, from her Brill Building years as a songwriter through her breakthrough as a performer. In an inspired bit of forethought, the music is written by pairs of songwriters: one Sixties veteran working with a newcomer (i.e., Burt Bacharach and Elvis Costello). And since the protagonist is also a songwriter, the film gives you a great idea of how these things were (and are) done. The movie itself constantly inverts expectations: for example, Denise (Illeana Douglas at her best) is introduced to Cheryl (Patsy Kensit), another songwriter whom everyone (including the audience) expects to be a rival; instead, they become best friends.[media url=”http://www.youtube.com/watch?v=5r58nW-ONgc&list=PL306AE0ED87081082″]
The Idolmaker is Taylor Hackford’s classic story of a guy who’s got everything except the looks to be a star, so he fashions first his cousin, then a busboy, into prefab teen idols. The music was originally supposed to be done by Phil Spector, but (surprise) he proved unreliable, so Jeff Barry stepped in at the last minute. And if this is how Barry responds to pressure, then he should be given unrealistic deadlines more often. Of the five onscreen numbers, three of them are absolutely fantastic in both musical terms, and as scenes in the story.[media url=”http://www.youtube.com/watch?v=8VWc-6v7Zw8″]
It’s interesting that all these movies are, from a contemporary perspective, period pieces, some on purpose (like The Idolmaker) and some, though current at their release, through the passage of time (like Phantom of the Paradise). It seems as if movies about or starring today’s musicians, like most modern pop music itself, has lost its passion.
What musicals about musicians would you add?