By Dennis Hartley
(Originally published on Digby’s Hullabaloo on July 2, 2016)
Ah, July 4th weekend. Nothing kicks off summer like a time-honored, all-American holiday that encourages the mass consumption of animal flesh (charcoal-grilled to carcinogenic perfection), binge drinking, and subsequent drunken handling of highly explosive materials. Well, for most people. Being the semi-reclusive weirdo that I am (although I prefer the term “gregarious loner”), nothing kicks off summer for me like holing up for the holiday weekend with a case of Diet Dr. Pepper, a decent ration of Wha Guru Chews (I’m partial to cashew flavor) and an armload of my favorite rock musicals.
So, for your consideration (or condemnation) I now submit my Top 10 personal favorites of the genre (actually…this one goes to eleven). As per usual, I present them in no particular ranking order (to prevent fistfights). And for those who are about to rock…I salute you.
Bandwagon – A taciturn musician, still reeling from a recent breakup with his girlfriend, has a sudden creative spurt and forms a garage band. The boys pool resources, buy a beat-up van (the “Band” wagon, get it?) and hit the road as Circus Monkey. The requisite clichés ensue: The hell-gigs, backstage squabbles, record company vultures, and all that “art vs commerce” angst; but John Schultz’s crisp writing and directing and mostly unknown cast carry the day.
Indie film stalwart Kevin Corrigan stands out, as does real life indie rocker/Chapel Hill music scenester Doug McMillan (lead singer of The Connells) as the Zen-like road manager (director Schultz is one of McMillan’s former band mates). The icing on the cake is the original music, an excellent set of power-pop (you’ll have the catchy signature tune, “It Couldn’t Be Ann” in your head for days). Anyone who has been a “weekend rock star” will recognize many of the scenarios; any others who apply should still be quite entertained.
The Commitments-“Say it leoud. I’m black and I’m prewd!” Pulling together a cast of talented yet unknown actor/musicians to “play” a group of talented yet unknown musicians was a stroke of genius from director Alan Parker. In some ways a thematic remake of Parker’s own 1980 musical Fame, the scene moves from New York to Dublin (be on the lookout for a quick winking reference when a band member starts singing a parody of the Fame theme).
These working class Irish kids don’t have the luxury of attending a performing arts academy, however (several band members are “on the dole”). The acting chemistry is superb, but it’s the amazing musical performances that really astonish, especially from the 16-year old lead singer, who has the soulful R & B pipes of someone who has been drinking a fifth and smoking 2 packs a day for 30 years. Gritty, realistic and spiced up with a goodly amount of ribald humor.
Expresso Bongo– This 1959 British gem from Val Guest undoubtedly inspired Julien Temple’s Absolute Beginners– from the opening tracking shot giddily swooping through London’s Soho district coffee bar/music club milieu, to its narrative about naive show biz beginners with stars in their eyes and exploitative agents’ hands in their wallets. Laurence Harvey plays his success-hungry hustler/manager character with chutzpah. The perennially elfin Cliff Richard plays it straight as Harvey’s “discovery”, Bongo Herbert.
The film includes performances by the original Shadows (Richards’ backup band), featuring guitar whiz Hank Marvin (whom Jeff Beck and Jimmy Page have cited as a seminal influence). The smart, droll screenplay (by Julian More and Wolf Mankowitz) is far more sophisticated than most of the U.S. produced rock’ n ’roll musicals of the era (films like The Girl Can’t Help It and Rock Rock Rock do feature priceless performance footage, but the story lines are pretty dopey).
A Hard Day’s Night– This 1964 masterpiece has often been copied, but never equaled. Shot in a verite style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers. Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity.
Although it is in reality meticulously constructed, Lester’s film has a loose, improvisational feel-and therein lays its genius, because it still plays just as fresh and innovative as it was when it first hit theater screens all those years ago. There’s much to savor in every frame; to this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, “If I Fell” and of course, the fab title song.
Hedwig and the Angry Inch – It’s your typical love story. A German teen named Hansel (John Cameron Mitchell) falls head over heels for an American G.I., undergoes a (less than perfect) sex change operation so they can marry, and ends up seduced and abandoned in a trailer park. Now completely adrift (geographically as well as sexually) the desperate Hansel opts for the only logical way out of this mess…by creating an alter-ego named Hedwig, putting a glam-rock band together, and setting out to conquer the world. How many times have we heard that tired old tale? But seriously, this is an amazing tour de force on the part of Mitchell, who not only acts and sings his way through this entertaining musical like nobody’s business, but directed and co-wrote (with composer Steven Trask, with whom he also co-created the original stage version).
Jailhouse Rock-The great tragedy of Elvis Presley’s film career is how more exponentially insipid each script was from the previous one. Even the part that mattered the most (which would be the music) progressively devolved into barely listenable schmaltz (although there were flashes of brilliance, like the ’69 Memphis sessions).
Fortunately, however, we can still pop in a DVD of Jailhouse Rock, and experience the King at the peak of his powers before Colonel Parker took his soul. This is one of the few films where Elvis actually gets to breathe a bit as an actor (King Creole is another example). Although he basically plays himself (an unassuming country boy with a musical gift from the gods who becomes an overnight sensation), he never parlayed the essence of his “Elvis-ness” less self-consciously before the cameras as he does here. In addition to the iconic “Jailhouse Rock” song and dance number itself, Elvis rips it up with “Treat Me Nice” and “(You’re So Square) Baby I Don’t Care”.
Ladies and Gentlemen, the Fabulous Stains– A sort of punk version of A Star is Born, this 1981 curio (initially shelved from theatrical distribution) managed to build a rabidly devoted cult base, thanks to showings on USA Network’s Night Flight back in the day. As a narrative, this effort from record mogul turned movie director Lou Adler would have benefited from some script doctoring (Slap Shot scripter Nancy Dowd is off her game here) but for punk/new wave nostalgia junkies, it’s still a great time capsule.
Diane Lane plays a nihilistic mall rat that breaks out of the ‘burbs by forming an all-female punk band called The Stains. Armed with a mission statement (“We don’t put out!”) and a stage look possibly co-opted from Divine in Pink Flamingos, this proto riot-grrl outfit sets out to conquer the world (and learn to play their instruments along the way).
Music biz clichés abound, but it’s a guilty pleasure, due to real-life rockers in the cast. Fee Waybill and Vince Welnick of The Tubes are a hoot as washed up glam rockers. The fictional punk band, The Looters (fronted by an angry young Ray Winstone) features Paul Simonon from The Clash and Steve Jones and Paul Cook of the Sex Pistols.
Rock ‘n’ Roll High School-As far as guilty pleasures go, this goofy bit of anarchy from the stable of legendary low-budget producer Roger Corman rates pretty high (and one suspects the creators of the film were, um, “pretty high” when they dreamed it all up). Director Alan Arkush evokes the spirit of those late 50s rock’ n’ roll exploitation movies (right down to having 20-something actors portraying “students”), substituting The Ramones for the usual clean-cut teen idols who inevitably pop up at the prom dance.
I’m still helplessly in love with P.J. Soles, who plays Vince Lombardi High School’s most devoted Ramones fan, Riff Randell. The great cast of B-movie troupers includes the late Paul Bartel (who directed several of his own cult classics under Corman’s tutelage) and his frequent screen partner Mary Waronov . I’m fairly convinced the film inspired the cult 1982 TV series Square Pegs. R.I.P. Joey, Dee Dee, Johnny and Tommy.
Starstruck-Gillian Armstrong primarily built her rep on female empowerment dramas like My Brilliant Career, Mrs. Soffel, High Tide, The Last Days of Chez Nous and Charlotte Gray; making this colorful, sparkling and energetic 1982 trifle an anomaly in the Australian director’s oeuvre. That said, it’s the only Armstrong film I’ve watched more than once. In fact, I’ve watched it many times.
It does feature a strong female lead character, free-spirited Jackie (Jo Kennedy) who aspires to be Sydney’s next new wave singing sensation, with the help of her kooky, entrepreneurial-minded (and frequently truant) teenage cousin Angus (Ross O’Donovan) who has designated himself as publicist/agent/manager. Goofy and good-natured, with lots of catchy power pop tunes (with contributions from members of Split Enz and Mental as Anything). Highlights include “I Want to Live in a House” and “Monkey in Me”.
Still Crazy– Q: What do you call a musician without a girlfriend? A: Homeless! If that old chestnut still makes you chortle, then you will “get” this movie. Painting a portrait of an “almost great” 70’s British band reforming for a 90’s reunion tour, Brian Gibson’s 1998 dramedy Still Crazy does Spinal Tap one better (you could say this film goes to “eleven”, actually). Unlike similar rock ‘n’ roll satires, it doesn’t mock its characters, rather it treats them with the kind of respect that comes from someone who genuinely loves the music.
Great performances abound. Bill Nighy stands out in a hilarious yet poignant performance as the insecure lead singer of Strange Fruit. Prog-rock devotees will love the inside references, and are sure to recognize that the character of the “lost” leader/guitarist is based on Syd Barrett. Still, you don’t need to be a rabid rock geek to enjoy this film; its core issues, dealing with mid-life crisis and the importance of following your bliss, are universal themes. Foreigner’s Mick Jones and Squeeze’s Chris Difford are among the contributors to the exceptional original soundtrack. I also recommend Gibson’s 1980 debut Breaking Glass (a similar but slightly darker rumination on music stardom). Sadly, the director died at age 59 in 2004.
Tommy– There was a time (a long, long, time ago) when some of my friends insisted that the best way to appreciate The Who’s legendary rock opera was to turn off the lamps, light a candle, drop a tab of acid and listen to all four sides with a good pair of cans. I never got around to making those arrangements, but it’s a pretty good bet that watching director Ken Russell’s insane screen adaptation is a close approximation. If you’re not familiar with his work, hang on to your hat (I’ll put it this way-Russell is not known for being subtle).
Luckily, the Who’s music is powerful enough to cut through all the visual clutter, and carries the day. Two members of the band have roles-Roger Daltrey as the deaf dumb and blind Tommy, and Keith Moon has a cameo as wicked Uncle Ernie (Pete Townshend and John Entwistle only appear in music performance). The cast is an interesting cross of veteran actors (Oliver Reed, Ann-Margret, Jack Nicholson) and well-known musicians (Elton John, Eric Clapton, Tina Turner). Musical highlights include “Pinball Wizard”, “Eyesight to the Blind” “The Acid Queen” and “I’m Free”. And you haven’t lived until you’ve seen Ann-Margret, covered in baked beans and writhing in ecstasy! It may be raucous, garish and gross…but it’s never boring.