One would think that with over 30 films under his belt as a
director that Clint Eastwood would be out of tricks. And yet, with his big screen adaptation of
the Broadway smash Jersey Boys, he not only breaks new ground for himself –
as this is the first musical he’s directed – but is also able to bring a new
perspective to the genre and this story as well. Reimagining the play slightly, Eastwood is
able to give us a more personalized point of view regarding the rise of Frankie
Valli and the Four Seasons. While this
approach pays dividends, that’s not to say that the movie is without its faults
as far too many elements of the story are given the short shrift, ultimately
giving the viewer a less than complete picture.
The film begins auspiciously in New Jersey in 1951, where
young Frankie Castelluccio (John Lloyd Young) makes his first public singing
appearance at the request of his friend Tommy DeVito (Vincent Piazza), who’s
looking for talent to help his own music group get off the ground. He knows
this kid from the neighborhood is special and does his best not only to nurture
him but also make sure he doesn’t get away.
DeVito’s groups come and go, musicians join, then drop out and it takes
some time before the other two core members of what will become the Four
Seasons are in place. Nick Massi
(Michael Lomenda) ably fills the role as bass guitarist while Bob Gaudio (Erich
Bergen) proves to be their secret weapon as he winds up writing a string of
doo-wop classics that not only put the group on top but help to define a
generation.
The most refreshing aspect of the film is that it’s told
from DeVito, Gaudio and Massi’s respective points of view. Each takes a turn moving the story along by
addressing the audience directly, giving us the basic historical facts of a
given era while providing their own opinions of these happenings. This device provides the movie with an
ever-growing sense of momentum that holds it in good stead as we see
Castelluccio – now Valli – and his cohorts attempt to weather the ups and downs
of the music business. Not only do they
have to contend with the usual infighting that develops in this sort of group
dynamic but also trouble with organized crime as it’s revealed that DeVito’s skills
as business manager are shady at best.
Unlike a traditional musical, where say, a lovesick guy
suddenly starts singing in the rain, the music here stems organically from the
action on screen. Whether the group is
working through a song or performing on stage, none of these numbers break the
sense of reality the characters are in.
That’s not to say that the film is without it’s share of corny Hollywood
tropes (check out how the group gets its name) but there are too few to ruin
the overall sense of “realism” Eastwood is attempting.
Of course, it goes without saying that the Four Seasons’
musical catalogue is on full display here and if there’s one criticism where
it’s concerned it’s that not nearly enough of the songs are played. All of the big hits – Sherry, Big Girls
Don’t Cry, My Eyes Adored You – are given their due while only fragments of
some of the others are heard. This is a
testament to the depth of their legacy and if anything the film encourages the
viewer to rediscover it.
The four principals were all chosen from various
incarnations of the play with Lloyd Young having belonged to the original
cast. They all accord themselves
handsomely and each makes the transition to the screen without missing a step. And while Massi describes himself as the
Ringo of the group, nothing could be further from the truth as all four prove
sympathetic and engaging.
The film is not without its faults as far too little time is
given to the women in these men’s lives particularly Valli’s wife Mary (Renee
Marino) who comes off as little more than a plot device used to remind us that
there they all have a life away from the road.
Equally troubling is that Eastwood gives us little indication as to the
passage of time so we often have no idea what year it is or where the group is
in the course of their career. And yet,
warts and all Jersey Boys is a film that’s incredibly entertaining, telling a
familiar American success story – rags to riches with measures of tragedy,
success and humor – in a way that grabs you and only lets you go until Frankie
sings the last note.
This article appears in Jun 19-25, 2014.
