Clint Eastwood | Film | Music | Nathaniel Rogers

Weekend Movie: Clint Eastwood's 'Jersey Boys'

  Jerseymovie-cast
Erich Bergen, John Lloyd Young, Vincent Piazza, and Michael Lomenda star in "Jersey Boys" 

BY NATHANIEL ROGERS 


‘I’m looking for sky blue and you’re giving me brown,’ a fey producer sighs when the Four Seasons are in the recording booth. They’re just going through the motions rather than livening up their material. He could just have easily been dissing JERSEY BOYS itself, Clint Eastwood’s needlessly dull adaptation of the Broadway smash. In truth the band’s performance in this scene isn’t appreciably worse than their performances elsewhere in the movie. If you can’t readily spot differences in inspiration and creative fire from one performance to the next, maybe there’s none to be found?

“Brown” isn’t quite the color of it, though. Clint Eastwood’s aesthetic favors underlit rooms, heavy blacks and washed out color. You’d think that aesthetic would change for a splashy musical but you’d be wrong. I mean, why shouldn’t a musical about a famous band with a gift for hooky pop gems look as depressing / dead-end as a drama about desperate boxers or a war film about an island massacre?

MORE AFTER THE JUMP...

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For the uninitiated, Jersey Boys is a jukebox musical that charts the formation, rise, and fall of the classic band The Four Seasons ending with their induction into the Rock and Roll Hall of Fame. I haven’t seen the stage musical but from my understanding of its structure, there doesn’t appear to have been much in the way of ‘adaptation’. The Broadway book writers Marshall Brickman and Rick Elice also did the screenplay and they even keep the super theatrical device of the characters talking directly to the camera/audience. That’s a stage staple rarely used in film for the reason that it's terrible. The theater has a different contract with the audience, one that is about shared space and willful suspension of disbelief for storytelling time. Film is a far more realistic medium. That’s especially true when a director eschews the fantastical, as Eastwood does for almost the entire running time, treating this as a conservative biopic rather than a true musical.

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Rather than populate the movie with name actors, Jersey Boys keeps the stage performers (from various productions). That’s a move I wish I could applaud since they all sing beautifully. Unfortunately most of them have nothing like true big screen presence (I believe this is what screen tests are for?) Erich Bergen is most promising among them as the straight laced songwriter Bob Gaudio. John Lloyd Young is especially problematic in the leading role despite his impressive pipes. He’s nearing 40 and less believable as a teenager (in the film’s first scenes) than any middle aged high schooler since Stockard Channing in Grease. It doesn’t help him that the washed out color palette often makes the actors look undead, as if their blood has been drained away before each scene. Was the key grip named Vlad?

It's not supposed to be a horror movie even if it is a horror.

Jersey-gypdecarloJersey Boys is so low on entertainment value and so short on color that you notice it every time it pops up — "ooh, an orange sign,” “yay, red jackets!”.  Figurative color comes with about the same frequency and always feels like an oasis in the desert. The movie has hundreds of wide-eyed reaction shots from extras and principals alike that are variations on “wow this boy can saaaang!” awe. Christopher Walken, a joy as the gangster Gyp DeCarlo, is the only one that wins intentional laughs performing these. But Walken isn't in much of the movie and his dancing skills aren't even utilized.

The other early blast of acting color comes from Renée Marino as Frankie’s future wife Mary. She’s a riot in her first big scene, a date with Frankie in which she totally takes charge. But then that actress disappears, replaced by her lifeless twin, blood drained from every subsequent scene once she’s been reduced to the stock character of Nagging Wife. My desperation for amusement became so great that I not only forgave but actively embraced the gay minstrel flamboyance of Mike Doyle as the producer Bob Crewe. I was all ‘get jt gurl’ every time he appeared when I might normally be cringing.

In the end, Jersey Boys is little more than a feature version of an episode of Behind the Music. It even botches the simple stuff like a sad funeral scene with rough draft acting, awkward musical cues, and clumsy camera movement. Just when you think it can’t get any worse, the film jumps ahead to 1990 and Eastwood trots out the old age makeup on his thirtysomething castmembers. So soon after the prosthetic mummy horrors of J. Edgar? You can’t say Eastwood isn’t stubbornly committed to doing things the way he does them.

Ah well, there’s always the music. The catchy glory of the familiar songs help. The corny bombast of Franki Valli’s late-career hit “Can’t Take My Eyes Off Of You” is undeniably pleasurable and a highlight. But no one will ever sing its hyper rousing 'I-iii love you, ba-aaa-by!' chorus to this movie.

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Nathaniel Rogers would live in the movie theater but for the poor internet reception. He blogs daily at the Film Experience. Follow him on Twitter @nathanielr.

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Comments

  1. When I saw the Trailers, I thought where's the color, it's a musical isn't it, sad.

    Posted by: Rob | Jun 20, 2014 10:59:21 PM


  2. Glad to know it sucks. I wouldn't have supported it anyway considering the director.

    Posted by: stranded | Jun 20, 2014 11:07:15 PM


  3. Rob, it's not all about color.

    See something like Gold Diggers of 1935. It has zero color at all, being a black and white musical, and is fairly entertaining. The fact that it still gets shown, nearly 80 years later, is something.

    Or more recently, Les Misérables was also produced in a fairly limited and dull palette, but it worked very well.

    Jersey Boys (or its trailer) does look like it belongs in its time period. The drab color scheme is reminiscent of black-and-white which has been hand-tinted or colorized (but is probably just a flip of a switch on a computer somewhere). How well it works is ultimately going to depend on audience reaction.

    Posted by: Randy | Jun 20, 2014 11:42:56 PM


  4. Next time Clint Eastwood feels like talking to an empty chair, perhaps he should just attend a screening of his latest opus.

    Posted by: Andy G. | Jun 21, 2014 2:44:00 AM


  5. You didn't see the stage musical?

    Posted by: BlackBeachBum | Jun 21, 2014 3:09:15 AM


  6. Whatever...I loved it!!!!Want to see it again.

    Posted by: Danny | Jun 21, 2014 7:18:50 AM


  7. A lot of great music came out of that era. I wouldn't place the Four Seasons very high on the list.

    Posted by: JonnyNYNY2FLFL | Jun 21, 2014 8:41:29 AM


  8. @ RANDY -- yeah, but this lack of color is becoming a real peeve of mine: since the Matrix, Saving Private Ryan and Lord of the Rings, cinematography has been Desaturated and tinted (often to gloss over CGI backgrounds, and often greenish) -- we've had a decade of movies that are tinted and the color levels played with, and in the future these films will show their age as clearly as the candy colored Technicolor of the 50's... maybe worse, as they look dull!

    SHOW ME A FULL COLOR MOVIE, DAMMIT!

    Posted by: Strepsi | Jun 21, 2014 9:30:15 AM


  9. One of my aunts as a 19 year old dated Frankie Valle. She said he was a creep and perv.

    Posted by: ratbastard | Jun 21, 2014 11:02:47 AM


  10. I saw the movie and was pretty disappointed in it. It was boring and slow. The article is right on the money. What a waste of time and talent. Even the voices grew stale as the movie droned on and on.

    Posted by: Liam | Jun 23, 2014 11:27:48 AM


  11. If anything, the color scheme enhances the scenery as it takes place in the 60s.

    Posted by: Jake Voronkov | Jul 7, 2014 10:31:18 PM


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