Crossroads - Pakt mit dem Teufel

I feel something for Ralph Macchio, and it is not love. The first time I ever saw his face, I can swear it inspired greatness. Then he talked, he act, he spread his talents all around, and no person can deny he was a natural. The character he created and developed in the first three "Karate Kids" (the first one is one of my favorite films) was sing of commitment and skill.

I was experiencing the hilarious "My cousin Vinny" the other day and he played another original character, being that one of his last important roles. Maybe what I feel is compassion because he couldn't make it as an elder man, and I really wanted to watch him grow. Maybe I miss his first and few big breaks, where he literally knocked me down; one of those being "Crossroads".

He was 25 at that time, but still had that 17-year old look, where you would have said: "Wow, he's 17 and in main role"…Well, I'd have said that. "Crossroads" is an inspiring tale about life and music; blues. It was not the first time that a filmmaker tried to relate music with life. I have personally never had doubts about it, because music is life for me; but in this film, for writer John Fusco it was about growing up, understanding the gift and use it for good.

Macchio portrayed Eugene Martone, a naive guy, gifted guitar player, crazy driven by the magic of blues. The love for music makes our mind think unconsciously about getting far, being big; and Eugene wants to go to Mississippi to get his chance, but needs someone who knows Robert Johnson's lost melody, knows the way, and has even lived it, if you know what I mean. In this story, that character is blues master Willie Brown (a tremendous Joe Seneca), now forgotten in an asylum, probably crazy (although he says he isn't but some brilliant sequences show him out of place) and without his car. But Eugene will get him out of there and they'll both start that journey together.

What happens next, including the various stops, problems, Ralph Macchio's wonderful guitar playing abilities and encounter with beautiful girl Frances (radiant and talented Jami Gertz) is for the viewer to discover. Now, how the title relates it's touching and interesting, but where director Walter Hill triumphs (and this is something that should never be forgotten for music movies nowadays) is in knowing that the story is there. The heart of his film lies in the development of the kid's and the old man's relationship.

When we now see movies about music that sometimes don't even have a clue "musically" and most of the times there is music to promote an artist in the film, because he/she sings; in Hill's "Crossroads" and in the relationship I was talking about, the discussions, conversations, walks and even music playing, hide some of life's deepest interrogations. And I regret saying blues is always the same, because even when it is, it is one of those musical styles, like jazz, that not many listen but when they do discover their power. It's in the eyes of the musicians when they play where you can see it; they love being in that scenario, and that's just magical.

This movie starts slow and begins moving quickly as we see an outstanding modern version of faust (more like the Devil went down to Georgia). The end is a spectacular show down between Ralph Machio on a classic guitar vs. A rock & roll demon.

This is a really, really good movie and I don't understand why no one ever mentions it or why it is never on cable.

It has everything that I love in a movie: good story, great characters well acted, fine comedy and powerful touching drama. Ralph Macchio is a brilliant young guitar student, Eugene Martone, at Julliard (or some other equally good music school) who does not want to play Mozart. He wants to play guitar like his idol, a long dead blues guitar legend. In search of his dreams, he breaks an elderly black blues player out of a prison nursing home.

The two of them go on an odyssey to the Mississippi Delta in quest of memories and dreams. As in any odyssey, they meet a variety of fascinating and/or dangerous characters along the way. Eugene must also overcome the obstacles and tests that all those who quest must face - until it is time to face the ultimate test against the greatest blues guitarist in the Delta.

I enjoy music, but my knowledge is superficial. I probably wouldn't know a good guitar riff from a raft, but even I could recognize awesome guitar work in the final sequence of Crossroads.

So, if you like good movies and good acting and great guitar music, please check out Crossroads. If enough of us spread the word, it may no longer be a forgotten classic.

Other than "The Blues Brothers," I can't think of another modern film about the Blues as good as Walter Hill's "Crossroads." In the film, Ralph Macchio plays Eugene, an aspiring classical guitar prodigy at Julliard who is fascinated with the blues. He tracks down Willie Brown, one of the last living blues legends from the 40's, played by Joe Seneca. Eugene thinks Willie has the last song written by (real life) legendary Bluesman Robert Johnson, that was never recorded (the story is loosely tied to the life of Johnson). Eugene believes he can assist Willie is resurrecting the song and giving it to the world. However, Willie has other plans including teaching Eugene the true meaning of Blues music that requires a trip back to Willie's stomping ground on the Delta.

This is Hill's best film. Like "Crossroads", many of his films have interracial lead characters and Hill always gives a unique, honest slant on racism and social differences among these types of relationships (or if its an amicable relationship - the lack thereof). The script may be a little thin for some (Jami Gertz's character is a little weak, and she resorts to overacting too often), but Joe Seneca carries the movie with weathered grace as Eugene's fatigued hero who hopes of correcting his shady past in order to save his future. Ralph Macchio expertly plays a naive, impressionable teenager whose skill and love as a musician ultimately generates his confidence and even bull-headedness: he's a blues guitarist who knows what to play but not how to play it. And who can forget the "cutting heads" showdown at the end of the film? Eugene fights tool-and-nail against master guitarist Steve Vai as Jack Butler. The duel is ABSOLUTELY incredible, and no matter how many times I've seen it, I never get bored.

The tone and pacing of this film is tempered, quiet and casual, with none of its plot twists dipped in melodrama for maximum effect. Willie Brown's description of the South is never fully realized on screen, even it's bleakness is absent of any vivid cinematography, but this is overall a great film. As Willie tells Eugene late in the film, "Blues ain't nothin' but a good man feelin' bad." I love this movie!

Okay, we have all seen the final scene in the movie, and it is a tremendous scene that would be cool in just about any decade. Who would have guessed the rest of the movie was pretty decent.

So the story plays on the old "deal with the devil" trope that we have seen since Faust. The interesting detail is how they incorporated a new wrinkle to the story. While some might say there are too many holes in the story, I don't think it detracts too much from the overall story (like what is the deal with Eugene's parents).

All I can say is stay for the music, enjoy the fun and drink some whiskey.