The Buddy Holly Story

If there is one reason to watch this movie, it's not for an accurate depiction of Buddy Holly's life and career; it's for Gary Busey's incredible portrayal of the lead character. Busey received a well deserved Best Actor Oscar nomination for his tour de force. The film is a "docudrama" that overstates and over-glorifies Holly's contribution to and achievements in the early Rock and Roll era. I guess John Lennon was joking when he said "Before Elvis, there was nothing" because anyone who watched this movie understands that nobody knew what they were doing before Good Ole Buddy emerged on the scene a few years later. And he did it all without a producer or even a band who believed in and supported him! But when you're in the same league as Motzart, anything's possible! That's what makes Busey's performance so remarkable; he is so convincing and compelling that you actually believe this is who Buddy Holly was. Busey succeeds in creating this charismatic and dynamic performer,leader and visionary who never existed to that extent. The final scene is case in point when Holly is bombastically leading Richie Valens and the Big Bopper on stage during the final concert; in reality it could have been the 4th co-headliner, Dion and Belmonts closing that show and Holly playing drums for them which he had to do often on that tour. But this movie is not about presentation of the hard facts, but a celebration of a man and his music, which Busey's performance along with all of Holly's best songs easily accomplishes.

When Gary Busey got nominated for an Oscar for his performance in "The Buddy Holly Story," alongside Robert DeNiro, Warren Beatty, Laurence Olivier, and winner Jon Voight, it turned a lot of heads and made people pay more attention when the film came out on video and cable. Seeing it then for the first time years ago, I was amazed by Busey's powerful dynamism, the way he lives through each moment of the film so authentically. The rest of the film was enjoyable, funny, perceptive, and made me feel like I really understood something about Buddy Holly.

Watching it again years later, I still think Busey is terrific. But the rest of the film feels like a 1970s TV movie, with broad characterizations by the likes of Conrad Janis as a record exec. The Crickets are woefully portrayed, or perhaps a better word might be betrayed, given this shows them to be racist mediocrities who hold their buddy Buddy down. Even when the history isn't wrong, it feels wrong, like the scene of the Buffalo DJ who locks himself in his studio and plays "That'll Be The Day" non-stop until the police break down the door, helping launch the band.

"How'd get that dynamite sound?" the actor playing the DJ asks, hamming it up.

"Well, there's a guitar, drums, a stand-up bass and a cricket," Buddy replies, meaning an insect got in the middle of the recording session and made some background noise.

"Wow, Buddy Holly and the Crickets! What a super name!"

There's some truth behind the anecdote, a cricket apparently did find its way into the studio and inspired the band's name, but it just feels too contrived. Same with Buddy's problems back home in Lubbock, Texas, where his girl wants him to shape up and go to college. The actress playing the girlfriend is cute and winsome, but she pouts like a sitcom actress and says her lines like she's auditioning to play Marsha Brady.

But when the camera is on Busey as Holly, something takes over. He throws himself into every song with utter abandon, losing himself in Buddy's big glasses and pompadoured curls. It's not a note-perfect Buddy, but it encapsulates his spirit in a defining way. The only other actor who so dominated a film was George C. Scott in "Patton."

The fictionalized Crickets, only two instead of three, Don Stroud and Charles Martin Smith, are pretty terrific as backing musicians. I especially liked Stroud as Jesse the drummer, the way he cracks the skins and hammers the high hats with door-slamming authority. All the numbers are performed live, an unusual and brave choice by director Steve Rash that pays off brilliantly, capturing the raw vibrancy of straight-ahead rock 'n' roll.

There's a great opening sequence, done with a swooping camera shot inside a roller rink to where Buddy and his band play some bop for the kiddies and scandalize the community. Just the way the band switches from the soporific "Mockingbird Hill" to the thumping "Rock Around With Ollie Vee," with the audience reacting in comically but believably different ways (kids rushing the stage clapping their hands, adults rushing the exits clapping their ears) is a thrilling capsule commentary on what rock overcame to take over American culture. Also good are the period touches at the rink, like the malt bar, the roller skates, the sad fellow with the combover who plays rinkydink piano until someone taps him on the shoulders in mid-note.

Also good is the Apollo Theater scene, where Buddy and the Crickets become the first white band to play in that Harlem venue, getting a hilariously cold reaction when the curtain goes up, then winning the crowd over. I sort of doubt it happened like that, but there's some funny exchanges with the theater manager, and it's nice seeing Stymie from "Our Gang" in an adult role, complete with his trademark derby.

Basically, any scene where Buddy is performing is good, though his final performance at the Winter Dance Party in Clear Lake, Iowa, by which point he has become a solo act, is a little overdone, what with the over-the-top violins on "True Love Ways" and Ritchie Valens joining him on stage at the end with maracas.

Meanwhile back home, the Crickets come over to Buddy's apartment, and after talking to Buddy's pregnant wife Maria Elena, decide to surprise Buddy at his next tour stop in Moorhead, Minnesota. Yeah, right. Of course Buddy won't be there, he and Ritchie and the Big Bopper having picked the wrong night to fly. All that's left is a freeze frame of Buddy and some sad music over the credits.

We only had Buddy for 18 months, and this film, along with Don McLean's 1972 hit "American Pie," gave him back to us in a small but tangible way. For that, and for Busey's breakout moment, it is worth treasuring, and there are some nice scenes here and there. But playing with the facts is no way to tell a legend's story, especially when it serves sitcom-caliber punch lines. It's a good movie, but the real story behind it is better.

I've always been a Gary Busey fan since I saw him playing crazed villains in the likes of UNDER SIEGE and LETHAL WEAPON. The guy screams entertainment value, and it's tough to resist his manic charms. So I decided to go back to the beginning, and catch up with a role that helped make his name: as Buddy Holly in THE BUDDY HOLLY STORY, a biopic exploring the tragic rock 'n roll star's rise to fame.

It's a thoroughly engaging little movie with a definite 1970s vibe to it, in that actors are given the opportunity to act without flashy direction or editing or special effects getting in the way. Busey dyes his hair black, dons the horn-rimmed glasses and is good to go. Nothing more is needed than that.

The story that plays out is never less than interesting and usually more besides. Of course, there are musical numbers popping up throughout and Busey makes these his own; it feels like it's the kind of role an actor was born to play. That alone would make THE BUDDY HOLLY STORY a decent film, but the strength of the supporting players (mainly Charles Martin Smith and Don Stroud) and the involving storyline are the icing on the cake.

I turned 13 when Elvis hit the big times in 1956 with his first RCA hit. A year later Buddy Holly stepped in to give the King some competition. One of Buddy's major talents, besides his unique singing style and his songwriting ability, is often downplayed. Buddy was also a skilled lead guitar player, developing a unique rockabilly style all his own on his Fender Strat. Gary Busey attempts to capture this aspect of Buddy's persona. There were other contemporary master guitar rockers of equal caliber, such as Chuck Berry, Carl Perkins, and Eddie Cochran, but Buddy's talent is often overlooked.

As noted by others, Busey is the driving force behind the success of "The Buddy Holly Story." Not only does the script play with the facts of Buddy's life, but it even interjects several anachronisms for the two years of Buddy's popularity, basically 1957-1959. One that comes to mind is the scene where Buddy and Maria are watching a 3-D movie. Buddy is disenchanted with it all and tells Maria that it'll never last. It's just a fad. In reality there were no 3-D movies in circulation at the time. The heyday for 3-D was in the early 1950's. By 1955 the fad had already faded. Yet another example where just a little research would have sufficed to make the story more believable.

At times it is difficult to separate what really happened from urban legends surrounding Buddy's career. The story about how the Crickets got their name may or may not be apocryphal, but it certainly did not take place the way it is presented in the movie. Another problem with the film is how Buddy's parents are depicted. Certainly Buddy's parents were supportive of his musical career. "Maybe Baby" is credited to Buddy's mother and she did have input into the writing of the song.

It's good that Buddy's biggest hits were used in the movie, but I miss hearing one of my favorites, "I'm Looking For Someone to Love." I'm proud that as a result of this movie, Buddy's music was reissued for a new generation to hear. His legacy is one of the very best from the early days of rock 'n' roll. Rave on, Buddy, rave on.

I was fortunate enough to be an extra in this movie when I was about 13 during the roller rink scenes. My junior high school drama class was invited to participate. It was a fantastic experience.

Gary Busey, Charles Martin Smith and Don Stroud played the music live, all day! As a musician, I can appreciate the tireless work and dedication these guys put in to their roles. They must have played those songs 20 times. It's very difficult to maintain consistency and energy under those conditions. This is visible during a cut to a close-up on "That'll Be the Day," but fortunately the unsuspecting public probably wouldn't have picked it up.

Skating around all day, getting the day off from school and being transported back in time was a incredible thrill. I also had my first "date" on film. I had to walk a girl up to the ticket booth. Woo hoo! Even with an out-of-date haircut and hot lights melting the vaseline in my hair, it was still worth it. Fun stuff.

The movie is top notch and is highly satisfying as a whole. Busey delivers his best role ever and the supporting cast is superb. I'm glad to have participated in a great film of the day. To think I could have been in Corvette Summer or something. Not.

A funny ironic ending to this is that years later I was in a video store in Malibu looking at the movie the week it was released on video. Gary Busey walked in and stood right next to me. I showed him the cover and babbled on how great he was and how I was an extra and whatnot. Pretty weird, but very cool, for what it's worth.