Smithereens

Wren (Susan Berman) is a restless young woman trying to break into the music scene in NY of the early 1980s. A young, handsome and trusting man named Paul (Brad Rijn) falls for her--but she just uses him and tries to hook up with self-centered Eric (Richard Hell) who says he has contacts to get a career going.

This was a very impressive directorial debut by Susan Seidelman. It was made on a very low-budget and had mostly nonprofessional actors. It was surprisingly a favorite with critics and a success with art house college audiences of 1982. However it's pretty much disappeared since then. It's easy to see why. The clothes, music and attitudes are all clearly from the early 1980s. Most college kids today wouldn't know what to make of this. Still it's a good movie and, as a college kid from that era, I can honestly say this caught the look and feel of that time expertly. Purportedly this is also a pretty accurate portrayal about how the Village was way back then--hard to believe it was 25 years ago.

The film itself is gritty and negative and looks cheap--but that's because it was and it actually helps the movie. Seidelman's direction was actually pretty assured considering it was her first feature movie. Also, for the most part, the acting is good--Rijn in particular stands out. The only negatives I can think of is that is a depressing movie and Berman is miscast. She's a good actress but seems far too intelligent for the character she's playing.

Worth catching--especially for men and women who were in college in the early 1980s. It will really take you back! I give it an 8.

There's something about black and white checkered miniskirts in 1982 that sums up an entire era.

"Smithereens" documents a brief history of an archetype that many are familiar with: the Hip Urban Street Punk on a Path to Nowhere.

What makes this film superb is that it treats the subject with a frank honesty rarely seen in such a genre. No happy endings, convoluted plot points or moral judgments are imposed upon Wren as she bumbles about New York trying to make her way.

She is neither likable nor despicable. Belonging to no demographic, she creates her own. She has vague desires, but no goals. And as such an aimless character, the film's closing shot is quite perfect.

"Smithereens" is an engaging, refreshingly stark 'documentary' that does not gloss over its themes with the glitz and glitter otherwise prevalent in the early 80's. It successfully encapsulates a time and a lifestyle rarely portrayed correctly, except maybe in "Sid & Nancy".

We know people like this: rootless, aimless, self-absorbed, and using. This is a realistic portrait of such a young woman who, when everything smashes to "smithereens," may or may not have an epiphany, in an ending reminiscent of the last frame in 400 Blows. Great directorial debut.

i quite disagree with "dehlia"'s comment, this movie is anything but dull. It is an excellent film that does seemingly document the early new york style of punk/new wave rock and it's main character Wren who is as mentioned on a road to nowhere. The film comes off as a really excellent student feature, and it was the first film by the director of Desperately Seeking Susan and She -Devil. You can definitely see remnants of the Wren character in the character Madonna plays in "susan" and the film doesn't have a big sappy ending which is what makes it so interesting, it starts off like a comedy and then reveals itself as a more serious drama. It reminded me a great deal of the films of the French New Wave. Definitely worth seeing.

Things to be aware of: This movie is a downer.

This movie is interminably slow at times. Feel free to skip forward with the remote. There is not a lot of plot to miss.

Having offered those two disclaimers, this movie is definitely worth watching if you are inclined towards depressing tales of urban outcasts. Like most, this one centers around a subculture, but is really about the kind of tragic dreamers that seem drawn to failure like moths to a porch light.

What makes this story so compelling in spite of the rather amateurish acting and film-making is the gradual, offhand, and absolutely realistic ways in which the different characters casually dig themselves into ever more inescapable holes.

This is a story not about the 80s or punk rock, it's a story about young people with unfocused ambition who are sucked in by the glamor of the scene, whatever it may be. These are the fashion victims we've all known: people who have a new best friend every week, with whom are going to write a screenplay, go on a road trip, start a band, whatever. The people who are too busy and too cool to be cared about unless you're going to make them famous, people who do not realize that the glittering lights of the city at night are just stores and bars, who keep thinking that one of them is going to turn out to be magic, who see everyday life as some kind of hoax that they won't be conned into falling for.

What is beautiful about "Smithereens" is the perfect depiction of the blind, frantic pursuit of a better, purer, more exciting life that leads to the opposite. The sad, romantic naiveté that looks for rescue in a bar at 2am is a target for every kind of leech whose belief in magic has burned out and turned to cynical opportunism. The neophyte victims gradually and seamlessly become predators themselves, preying on others who are looking for late-night magic. Dreams of romance, fame, and adventure become grubbing squabbles over sex and money and these dreamers don't even see it happening until, disdainful of everything, they end up with nothing.