Not Fade Away

The Sopranos' creator David Chase's directorial debut, "Not Fade Away", is, at its core, a sad movie, masked by the comedy and music that barricade my empathy. The fictional story of a 1960s teenage drummer (John Magaro) who creates a rock band with a few of his friends, "Not Fade Away" is a very character driven film, focusing primarily on the social life of the protagonist, specifically his relationship with his girlfriend (Bella Heathcorte), his band mates, and his family. I won't spoil the plot, but it is a coming-of-age tale, not as much about learning and growing as it is about doing and living. James Gandolfini is an on screen pleasure as the main character's father, while the rest of the cast, mostly lesser known actors, gratifyingly embody the 1960s rock and roll personality.

Gloriously filmed by Chase's cinematographer Eigil Bryld, the film succeeds in emitting a rock and roll cluttered vibe when the music is playing, contrasted by a dark, Godfatheresque undertone that is signature of David Chase during more dramatic scenes. While the art direction and costume design were spot on, in the end it was the music that was transporting me through time. Repeatedly watching, with the characters, The Beatles, The Rolling Stones, and Buddy Holly perform on a small black and white TV, I was sent back into the age of drugs, sex, and rock and roll. The band's original songs were probably the highlight of the film. Under the supervision of Steve Van Zandt, the music department took advantage of the actors' talented musical backgrounds and were able to conjure up some extremely enjoyable tracks that very well could've been written during the era.

My main problem with the film is the fact that it is littered with unnecessary scenes, scenes that are probably meant to indicate character development, but ultimately convey little to nothing. It also fails to establish Heathcote, the supporting actress, as an interesting or particularly likable character. Not much is ever learned about her through the course of the film while notably less significant characters remain better developed and ultimately more interesting.

When walking into the theater at the New York Film Festival, I thought I was in for another "Almost Famous". What I got was a very different movie. "Not Fade Away" is a simple picture. With a basic plot structure and relatable characters, the film is practically spoon-fed to its audiences. It is the end of the film, the final scenes, that sum up not only the movie, but the era. You must think before you proclaim a lack of closure, consider the times and the lifestyle. Rock spawned from the blues and, in the sad actuality of this movie, can't ever separate from its source. Success is 10% inspiration and 90% perspiration and in the end we often can't keep up. I recommend this vicarious joyride to all music, drama, and comedy movie lovers, as well as anyone who is looking for a party, a party that is shut down by reality. 8/10 stars.

Not Fade Away takes me back to the Sixties when I would have been of the age that the young people of the film are in. Certainly the music was nostalgic enough and that will satisfy any number of fans.

James Gandolfini who starred as that other New Jersey legend of more recent vintage, Tony Soprano stars here as the father of aspiring musician John Magaro who wants more than anything else to succeed in Rock and Roll as those new groups from Great Britain are doing, The Beatles and The Rolling Stones. He and friends from his suburban New Jersey want to become rock stars only there's a lot more work involved than originally thought.

As for dad, Gandolfini doesn't like the kid's views or the new mod style of dress that his son is now taking up. He's a typical blue collar guy who has some real concerns about the family business and some even bigger concerns for his health. The two clash and their clash is what drives Not Fade Away.

I remember some kids on my block who were growing up including my next door neighbor in Brooklyn were doing exactly what Magaro and his friends were doing. None of them as I know stuck with music, but all apparently led successful lives, at least I've heard nothing different.

The music is wonderful if Sixties rock is your taste this is your film. The plot however is nothing that we haven't seen before. And Not Fade Away is hampered by a lack of character development other than Gandolfini and Magaro. But these two may be worth a look and a listen.

As with most filmmakers who work in themes, you should watch this to see Chase's perspective on the material, not for the story itself. Its seemingly formless structure will throw off some viewers, but it's very much in line with his body of work, being less about the music and the era and more about the effects of the passage of time, specifically the tug of the past on the present and the evolution of character (or not) as the years go by. It's an autobiographical elaboration on the themes in the dark and sad final seasons of the Sopranos, though it does have plenty of the usual witty Chase touches as well, like the kids dancing away the JFK retrospective. There's a pervasive sense of nostalgia because the setting feels realistic, neither idealistic like a Spielberg/Lucas movie nor revisionist like the progressive Pleasantville-type movies whose intention is to show us all how the past wasn't as enlightened as today. The downside is that it's such a well-covered period and milieu (for my generation The Wonder Years is the reference point) that it's hard to find something original to say. But go in with the understanding that it's more complex than it appears and it'll give you plenty to chew on afterward. At one point the lead and his girlfriend are watching Blow-Up and he comments on how strange it is there's no music to tell you when someone's going to get killed, and she replies that the sound of the wind in the trees is the music, which sums up this movie pretty well.

David Chase's "Not Fade Away" looks at what it was like to come of age in the '60s. The main focus is a New Jersey teenager who decides to join a band, but there are clear signs of everything that was going on: the Vietnam War, the generation gap, racial tensions, and Dean Martin's mean-spirited comment about the Beatles. Contrary to the previous reviewer, I would say that this movie is better than "Almost Famous". The latter was too fluffy and came across as a sanitized look at its era. This one is very upfront about what sorts of things happened (including some very tense scenes). And the final line poses a good question about how we as Americans want to be known to the world. Can we eventually look to our best qualities to do what's right?

Anyway, this is a good movie. It's got great music and brings up some important points. I recommend it.

Reading some of the other reviews I can somewhat see positive interpretations of this movie: life as a young person in the 60s was not cohesive or predictable thus it is fitting for this film to be "confused". The problem is that the more or less random snapshots of the particular life we are witnessing illustrate the decade in ways we already understand: I like the Beatles, I am sad and mad when MLK is shot, I don't want to go to 'Nam.

Without the support of a plot or structured character development, one can anticipate the emptiness of it all. Too many threads are planted at once and they all die in strangled, choppy mess. Finally, individual scenes are executed in a way that is flowery, verbose, and predictable, which leaves each self-indulgent attempt at emotion-evoking very obvious.

Nostalgia is strong, and a few shivers-down-the-spine moments will no doubt come, which makes it easy to overrate this film. However those moments happen *despite* the film: cool history and good music are powerful things.