Eddie und die Cruisers

This is probably my all-time favorite movie. I can't explain why in terms to satisfy most people though. It's just one of those things. I love the music and have been to see John Cafferty and the Beaver Brown Band many times since the release of this movie. The idea that a prominent celebrity could vanish from society is a thrilling storyline for this movie. Its movies like these that help people whose loved ones are missing to keep the faith. It also breeds fantasy that stars like Elvis and Jim Morrison are still alive. I could write more but I'd rather go watch this movie!!!

This movie evokes strange feelings of going back down a road, I have been on before, but did not recall ever being on it.

This was one of those movies I watched on cable during the eighties without noticing much. I would only watch it, if I had nothing else to do.

That said, I was amazed how much I remembered from this movie, when I watched it again recently. Probably because this movie has a lot going for it, that I never considered. It is a good story, with some mystery that compels one into the story. The movie has a good sound track and made an interesting point that good musicians feel tortured when trying to express themselves musically.

Released in 1983 and directed by Jon Amiel, "Eddie and the Cruisers" is a rock drama about a TV reporter (Ellen Barkin) who picks up the story of a legendary early 60's rock band that prematurely ended when their charismatic leader, Eddie Wilson (Michael Paré), died when his Chevy went off a bridge, although his body was never recovered. The newswoman interviews the living band members 18 years after their heyday and tries to track down the missing tapes to their never-released avant-garde second album. The band members are Frank (Tom Berenger), Joann (Helen Schneider), Sal (Matthew Laurance), Kenny (David Wilson) and Wendell (Michael "Tunes" Antunes), while their bullcrappin' manager is Doc (Joe Pantoliano).

This was the inspiration for 2009's "The Perfect Age of Rock 'n' Roll" but both movies have their distinctions, as well as pros and cons. "Eddie" is about a band from the early 60s whereas "The Perfect Age" is about a Guns N' Roses-type band whose heyday was in the 80s. Each film starts out shaky as the story is set-up, but they progressively get better. Both films feature charismatic frontmen with diametrically opposed styles, but also very similar when you think about it. Each feature revealing chats amongst the characters with "Eddie" shining in the final act when it unveils Eddie's youthful place of solitude, Palace of Depression (which is an actual place in southern New Jersey, Vineland; a building made of junk built by the eccentric George Daynor, a former Alaskan gold miner who lost his fortune in the Crash of '29). Growing-up, my gang had several hidden spots where we'd meet, each with a name known only to us; I even had a personal "My Place" in the woods behind my parents house on a lake where I'd often go for private reflection. When I was 15 I planned to commit suicide there, but thankfully didn't go through with it. The movie gets points for including such an existential element.

Was Eddie still alive or did he die in 1964? The ending reveals the truth and the way it's done is superlative.

So which movie is better, "Eddie" or "The Perfect Age"? They both shoot for greatness and in some small ways attain it. Disregarding the rockin' performances, "Eddie" is more location-bound and therefore dramatically sedentary whereas "The Perfect Age" is a road movie in disguise and therefore seemingly more eventful. In my opinion the music's better in the latter, but then I prefer the heavier side of rock/metal over the Bruce-Springsteen-in-the-early 60s style of "Eddie" (which is good for what it is, don't get me wrong). "Eddie" stands out for including the Palace of Depression angle and contains superb lines in the final act, but "The Perfect Age" soars in its own way, like Spyder & Eric's brouhaha in the rain and the blues bar sequence (featuring cameos by legends Sugar Blue, Pinetop Perkins, Hubert Sumlin, Willie "Big Eyes" Smith and Bob Stroger). Then there's the powerful climatic scene in "Perfect Age" at Spyder's ritzy mansion with Jane's Addiction's "Three Days" playing in the background, which just so happens to rank with the all-time best cinematic scenes utilizing rock songs, like the close of 1998's "Buffalo '66" with Yes' incredible "Heart of the Sunrise."

The songs by the fictitious Eddie and the Cruisers were composed/performed by John Cafferty and the Beaver Brown Band. The main song, "On the Dark Side," became a #1 hit for the band and "Tender Years" was a minor one. Most of the cast weren't musicians, although Matthew Laurance (Sal) learned how to play bass for the movie. Only Michael "Tunes" Antunes, the sax player for the Beaver Brown Band, and Helen Schneider (Joann) were professional musicians.

Speaking of whom, I can't close without mentioning how Helen really shines here. No, she's no Meryl Streep, but she's great for her role in "Eddie." You could say she's The Perfect Rage of Rock 'n' Roll (sorry, that was just DUMB). I should also add that it's interesting to see Berenger, Barkin and Paré when they were so young.

The film runs 95 minutes and was shot entirely in New Jersey with the exception of the college sequence, which was filmed just across the Pennsylvania border at Haverford College.

GRADE: B+

I saw this movie when my family first got cable television. I watched it once, then twice, then the next thing I know I had watched it about 30 times. The story is well told through flashbacks and current events. the casting is good. Michael Pare is Eddie Wilson. Every time I have seen him since, that's the first thing I think about. Tom Berenger is also very good. His character starts out as naive and innocent and then begins to grow as we grow with him. This movie is totally addictive.

Mystery surrounds the death of a rising rock star in director Martin Davidson's `Eddie and the Cruisers,' starring Tom Berenger and Michael Pare. With one successful album under their belts, lead singer and guitarist Eddie Wilson (Pare) takes his Cruisers into the recording studio to make an album he hopes will stand the world on its collective ear. Drawing the title from a work by Nineteenth Century poet Arthur Rimbaud, they begin to lay down tracks for `A Season In Hell.' But all is not well with Eddie and the band; there is dissent, and at least one among them, bassist Sal Amato (Matthew Laurance) disagrees with the direction in which Eddie has taken their music. Early one morning, toward the end of the recording sessions, Eddie's car goes off a bridge into the river; his body is never found. Now, eighteen years later, a reporter, Maggie Foley (Ellen Barkin) is doing a story on the Cruisers, and attempting to uncover the mystery behind the disappearance of the master tapes from the recording sessions, which inexplicably vanished the day after Eddie's apparent death. Pare is perfectly cast as Eddie, the Bruce Springsteen-like rocker; he lip-synchs convincingly to John Cafferty's vocals and deftly captures the persona of an early sixties rock n' roll idol on the rise. Tom Berenger (who is actually the star of the movie) does an excellent job as lyricist Frank Ridgeway, the keyboard player known as `Word Man' by the band. Davidson tells the story by effectively using flashbacks, through which we get to know Eddie and his band, and which establishes the relationships so pertinent to the present day conflicts which emerge during Foley's investigation of Eddie and the missing tapes. The focus is mainly on Ridgeway, therefore as the story unfolds it is predominately from his perspective that we learn what really happened, especially on that last night in the recording studio. That there is a comparison being drawn between Eddie and Jim Morrison of The Doors is unmistakable; the plot draws heavily on the myth that Morrison (and Eddie) is still alive and may have `Pulled a Rimbaud.' Poet Rimbaud (who is considered a genius, and to whom the creation of the form of modern poetry as we know it is attributed) committed `artistic suicide' at the age of nineteen, at which time he abruptly quit writing and disappeared for the next twenty years, only to reappear at last on his deathbed in France. That the title of Rimbaud's masterpiece is `A Season In Hell' is no coincidence. The parallels are drawn convincingly, which heightens the interest and adds to the credibility of the mystery. The supporting cast includes Joe Pantoliano (Doc), Helen Schneider (Joann), David Wilson (Kenny), Michael Antunes (Wendell) and Kenny Vance (Lew). An excellent soundtrack of original songs, written and performed by John Cafferty, provided Davidson with a solid base from which to launch his story. `Eddie and the Cruisers' is entertaining, if not entirely memorable, but the music and performances are good, and all in all this movie will do for a pleasant evening's viewing, with maybe a little popcorn thrown in for effect. If you haven't seen this one, try it out; I think you'll be glad you didn't let it pass you by. I rate this one 7/10.