That Thing You Do!
- 1996
- Tous publics
- 1h 48min
En 1964, un petit groupe de Pennsylvanie sort un tube unique. Grandement aidé par son manager, le groupe reste alors aussi longtemps qu'il le peut sur la voie de la célébrité.En 1964, un petit groupe de Pennsylvanie sort un tube unique. Grandement aidé par son manager, le groupe reste alors aussi longtemps qu'il le peut sur la voie de la célébrité.En 1964, un petit groupe de Pennsylvanie sort un tube unique. Grandement aidé par son manager, le groupe reste alors aussi longtemps qu'il le peut sur la voie de la célébrité.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 3 victoires et 8 nominations au total
Avis à la une
Tom Hanks wrote and directed this paean to the glory days of rock n' roll, an era in which even the wildest music still reflected a certain innocence, long since gone if not forgotten, before the advent of Metal, Rap and Grunge. It's 1964, and `That Thing You Do!' is about to become a hit record for a small band out of Erie, Pa., who call themselves the `Oneders (pronounced Wonders),' but who are destined to begin their musical odyssey know as the `Oh-NEED-ers.' Drummer Guy Patterson (Tom Everett Scott) works in his father's appliance store, but when the band's drummer breaks his arm right before a gig, Guy is asked to sit in for him. And it winds up being a case of being in the right place at the right time for Guy, like when Ringo joined The Beatles, and the rest-- as they say-- is history.
It's a lively, upbeat tale in which luck, talent and chance all play a part. Hanks presents the upside of making it in the music business, including the adrenaline rush of hearing one's own song on the radio for the first time, as well as all the hoopla that surrounds those who happen to be in the spotlight at the moment. But he also shows the downside: The creative differences and in-fighting which plagues just about any band ever formed to some degree at one time or another, the personality conflicts and petty jealousies that are apt to surface at any time, and the reality of dealing with bloated egos, adoring fans and rude, insensitive record label executives who could care less about the talent that is putting the coins in their coffers, as long as they're selling records.
For the most part, Hanks keeps it lighthearted and cheerful, which-- along with the original songs (some of which he helped write)-- makes this an entertaining, fun and thoroughly enjoyable movie. He sugar-coats the dark side of it all to a certain extent, which makes the bad things that happen a bit easier to swallow, though it compromises the impact of the events somewhat as they unfold. Then again, he manages to maintain the credibility and integrity of his story, and after all, `this' is the film he wanted to make, and he presents it exactly as intended. Hanks captures a sense of time and place with this film, and also that same sense of reality conveyed by The Beatles' film, `A Hard Day's Night,' intentionally avoiding the more stoic reality of the more recent `Almost Famous.' All three films are fairly true to life, but with varying degrees of honesty. It's a matter of whether to `imply,' as Hanks has done, or to be explicit, as Cameron Crowe chose to do with his film.
With this film Hanks proves that he is equally as adept behind the camera as he is in front of it; he knows exactly where he wants to take his audience and when, and he does it quite successfully. He also extracts some nice performances from his actors, especially Scott, Johnathon Schaech (Jimmy, the lead singer), Steve Zahn (Lenny, on guitar) and Liv Tyler as Faye Dolan, Jimmy's girlfriend, who takes the brunt of the blunt edge of Jimmy's sudden notoriety. Hanks also turns in a notable performance himself, as Mr. White, the representative of one of the labels interested in the Oneders.
The supporting cast includes Ethan Embry (The Bass Player), Charlize Theron (Tina), Obba Babatunde (Lamarr), Giovanni Ribisi (Chad), Chris Ellis (Phil), Alex Rocco (Sol), Bill Cobbs (Del Paxton), Peter Scolari (Tony), Rita Wilson (Marguerite), Chris Isaak (Uncle Bob) and Kevin Pollak (Boss Koss). What `Happy Days' was to television, `That Thing You Do!' is to movies; a film that evokes that perceived sense of innocence of a time when life at least seemed simpler. For the more distance you put between the present and the `Good old days,' the better they get. In reality, they may not have been better, but Hanks preserves that illusion by giving us a picture of the way we'd at least like to think things were. And it's more than a pleasant diversion; this is a feel-good film you'll be able to enjoy time and again, because it takes you to a place you'd like to be-- a place you've been to before at one time or another, in one way or another, if only in your mind. And that Hanks can take you there so readily is not only a credit to his talent, but another fine example of the pure magic of the movies. I rate this one 9/10.
It's a lively, upbeat tale in which luck, talent and chance all play a part. Hanks presents the upside of making it in the music business, including the adrenaline rush of hearing one's own song on the radio for the first time, as well as all the hoopla that surrounds those who happen to be in the spotlight at the moment. But he also shows the downside: The creative differences and in-fighting which plagues just about any band ever formed to some degree at one time or another, the personality conflicts and petty jealousies that are apt to surface at any time, and the reality of dealing with bloated egos, adoring fans and rude, insensitive record label executives who could care less about the talent that is putting the coins in their coffers, as long as they're selling records.
For the most part, Hanks keeps it lighthearted and cheerful, which-- along with the original songs (some of which he helped write)-- makes this an entertaining, fun and thoroughly enjoyable movie. He sugar-coats the dark side of it all to a certain extent, which makes the bad things that happen a bit easier to swallow, though it compromises the impact of the events somewhat as they unfold. Then again, he manages to maintain the credibility and integrity of his story, and after all, `this' is the film he wanted to make, and he presents it exactly as intended. Hanks captures a sense of time and place with this film, and also that same sense of reality conveyed by The Beatles' film, `A Hard Day's Night,' intentionally avoiding the more stoic reality of the more recent `Almost Famous.' All three films are fairly true to life, but with varying degrees of honesty. It's a matter of whether to `imply,' as Hanks has done, or to be explicit, as Cameron Crowe chose to do with his film.
With this film Hanks proves that he is equally as adept behind the camera as he is in front of it; he knows exactly where he wants to take his audience and when, and he does it quite successfully. He also extracts some nice performances from his actors, especially Scott, Johnathon Schaech (Jimmy, the lead singer), Steve Zahn (Lenny, on guitar) and Liv Tyler as Faye Dolan, Jimmy's girlfriend, who takes the brunt of the blunt edge of Jimmy's sudden notoriety. Hanks also turns in a notable performance himself, as Mr. White, the representative of one of the labels interested in the Oneders.
The supporting cast includes Ethan Embry (The Bass Player), Charlize Theron (Tina), Obba Babatunde (Lamarr), Giovanni Ribisi (Chad), Chris Ellis (Phil), Alex Rocco (Sol), Bill Cobbs (Del Paxton), Peter Scolari (Tony), Rita Wilson (Marguerite), Chris Isaak (Uncle Bob) and Kevin Pollak (Boss Koss). What `Happy Days' was to television, `That Thing You Do!' is to movies; a film that evokes that perceived sense of innocence of a time when life at least seemed simpler. For the more distance you put between the present and the `Good old days,' the better they get. In reality, they may not have been better, but Hanks preserves that illusion by giving us a picture of the way we'd at least like to think things were. And it's more than a pleasant diversion; this is a feel-good film you'll be able to enjoy time and again, because it takes you to a place you'd like to be-- a place you've been to before at one time or another, in one way or another, if only in your mind. And that Hanks can take you there so readily is not only a credit to his talent, but another fine example of the pure magic of the movies. I rate this one 9/10.
Catching the excitement of a mid-1960s garage band formed by 4 typical all-American young men from Erie, PA, who atypically make it to the "big time" with a hit record.
Hanks succeeds on all levels as Director, Screenwriter, Actor, and Producer, resulting in the official formation of "Playtone" two years later (named after the fictional record label portrayed in the film), that continues to make him some serious "scratch".
'That Thing You Do' is a contagiously likable and fun film to watch, and for baby-boomers a must-see.
👍👍
Hanks succeeds on all levels as Director, Screenwriter, Actor, and Producer, resulting in the official formation of "Playtone" two years later (named after the fictional record label portrayed in the film), that continues to make him some serious "scratch".
'That Thing You Do' is a contagiously likable and fun film to watch, and for baby-boomers a must-see.
👍👍
8hbs
My guess is that Tom Hanks is a really nice guy. He certainly seems like it when he's interviewed, and since he wrote and directed this movie, and it's really nice, too, that seems to be more evidence.
This is a very small movie. It has no pretensions, but just tells a simple story about a small-town band that makes good. It paints a nostalgic picture of the 60's -- I grew up in a small town during that time, and life wasn't so idyllic in my town -- but it isn't trying for gritty realism. The cast is attractive and more than adequate (some are quite good, including Hanks as the band's manager), and the story is observant enough to be an enjoyable confection. It's very nice family movie (my kids liked it, and so did I).
This is a very small movie. It has no pretensions, but just tells a simple story about a small-town band that makes good. It paints a nostalgic picture of the 60's -- I grew up in a small town during that time, and life wasn't so idyllic in my town -- but it isn't trying for gritty realism. The cast is attractive and more than adequate (some are quite good, including Hanks as the band's manager), and the story is observant enough to be an enjoyable confection. It's very nice family movie (my kids liked it, and so did I).
Overall, I have to say I enjoyed Hanks' feature directing debut(this is not, by the way, the first time he sat in the director's chair; he directed a segment of a Showtime film noir series; I think it was called CITY OF ANGELS). He did a convincing job not only recreating the time, but also the music, which sounded like period music without being a pale shadow of it. He also made a wise choice for his lead; Tom Everett Scott may not have moved on to bigger things yet, but as this film shows, he's destined for them. Steve Zahn is funny as always, Hanks does well playing a company man, and Liv Tyler is quite luminous(though I could have done without the "thousand kisses" speech; that was melodramatic). On the down side, I'm not a big fan of Johnathan Schaech, but his character was too much of a caricature. And sometimes it was just too light. Still, this was overall an enjoyable movie.
We've sorta been down this road before: 1960s pop band makes it out of their dead-end hometown for Hollywood, but fame and fortune unravel the fun. Still, this picture has remarkable focus, careful period detail, and a lovely cast that rarely (if ever) strikes a false note. If some of the young actors sometimes seem like they're doing Tom Hanks impersonations, that's okay because director Hanks (himself a co-star) seems to know these characters inside and out--and he likes them. We in the audience are quick to respond, and even the conventional parts of the movie work because Hanks rides over clichés with verve and enthusiasm and wit. Not a raucous comedy a la "I Wanna Hold Your Hand" (which is what it looked like to me in the ads), this has its share of subtle moments. There is a mean-spirited dig at the Frankie & Annette "Beach Party" flicks, and the ready-made romance at the end is sugar-coated, but "That Thing You Do!" is immensely likable. It has a huge heart. *** from ****
Le saviez-vous
- AnecdotesFilm debut of Tom Everett Scott. Tom Hanks was initially opposed to hiring Scott because of Scott's strong resemblance to a younger Hanks. He was finally convinced by his wife, Rita Wilson, who thought Scott was cute.
- GaffesA character states that they'll have to sell 500,000 copies of their single to get a gold record. In 1964 it still required 1,000,000 singles sold to qualify for a gold single record by the R.I.A.A.. It wasn't until 1976 that this was changed to 500,000.
- Crédits fousSoundtrack released on the Playtone record label, founded by Tom Hanks and Gary Goetzman to coincide with the fictional label in the movie and capitalize on the movie's success.
- Versions alternativesIn the 2007 two disc version there is an extended version not shown in theaters. Before "The Wonders" appear on national television, Guy arrives back at the hotel in a drunken state and finds an excited Mr. White with the good news about being on television the next day. Waiting for Mr. White is his male friend "Lloyd" played by Howie Long.
- Bandes originalesThat Thing You Do!
Written by Adam Schlesinger
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- ¡Eso que tú haces!
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 26 000 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 25 857 416 $US
- Week-end de sortie aux États-Unis et au Canada
- 6 208 595 $US
- 6 oct. 1996
- Montant brut mondial
- 34 585 416 $US
- Durée1 heure 48 minutes
- Couleur
- Mixage
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant