Roadie

I must confess up to the point of actually watching the Roadie, I had no idea what a roadie was or did. This is not my usual type of movie, however we should strive to challenge and expose ourselves to different movies. Just as you would a different language or cultural in order to grow and mature as an all around individual. The movie was interesting and I thought the plot, made a point in trying to relate to the viewer the regret of decisions that we make as youth, that do not pan out or other wise never manifest themselves. The characters were very likable and came across genuine and authentic in the Roadie, which must be stressed is a very necessary thing in a film like this. There was a feel that that the movies' main character could have been anyone of us: in regards to decision or choices that were made in our lives that never quite pan out. Perhaps you could take it a bit further and say that everyone in there life at least once or twice has not let go of an idea or notion until: well it was to late. Atlas, I would be remiss, if I did not mention that the sound track for the Roadie is excellent.

After 20 years of lugging gear and setting up equipment for the Blue Oyster Cult, Jimmy (Ron Eldard) is unceremoniously fired and abandoned by the band members he considered to be friends. With no identity outside of his status as a roadie and no life plans, Jimmy ends up heading back home for the first time in a decade. After crashing in his old bedroom, Jimmy comes into contact with Randy (Bobby Cannavale), his high-school nemesis who happens to be married to Nikki (Jill Hennessey), an old flame he never really got over. With nothing to show for his time away from home, Jimmy begins making up stories and eventually draws Randy's ire, creating an uncomfortable situation that further messes with Jimmy's already fragile mental state.

Roadie is like a conflict between two mountain goats (I know that "bighorn sheep" would be a more scientifically correct title but "mountain goat" just sounds better): one goat represents the acting in this film, chiefly that of Eldard, and the other represents the storyline and general exposition of said storyline. The Acting Goat is an outstanding specimen. Eldard is one of my very favorite character actors, a guy who always draws my attention no matter how big or small his role in a given movie may be. (This makes him a member of the "Barry Pepper All-Stars", a list of actors I really need to write a piece about one of these days.) This is a rare leading role for Eldard and he shines brilliantly. Jimmy is easy to root for despite not really showing many qualities that usually make one likable and that is due to Eldard's ability to convey a measure of truthfulness, or perhaps relevance, to his character. The lack of purpose and the search for meaning in his life work make Jimmy an appealing protagonist in this sort of slow- paced, character-driven drama. There is also an edge of genuine desperation to Jimmy and through this trait Eldard gives real weight to a character which otherwise might have been pointless. The supporting players around Eldard are all solid as well, though none quite measure up to the work of the leading man.

The Story Goat, however, is an equally impressive beast but one that works for evil instead of good. Simply put, the events of Roadie are about as bland as you can get. It isn't what I would call "boring" necessarily and yet nothing much happens. Jimmy comes into town, Jimmy pals around with some old friends, and then Jimmy threatens to leave town once more. That's about it. The settings that Roadie inhabits are uninteresting and the dialogue within is unimpressive. As a result, the story undermines Eldard's work and leaves him virtually trapped in a dull and somewhat meaningless world that serves as a stark contrast to the appealing lead character. In the end, neither the Acting Goat nor the Story Goat really win; instead, the two tire out and settle in for a nice nap, a genuine shame considering all that this film had going for it.

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I watched this movie for two reasons. First, I am a huge fan of Blue Oyster Cult. Been listening to BOC since 1973 and have seen them about 60 times in concert. Second, I worked as a sound engineer, stage manager, production assistant and local crew stagehand at thousands of shows in Arizona. Though I only did a few "road" gigs and most of what I did was local work, I have many "roadie" friends that have been around the world with some pretty big named bands. So my love for BOC and my time spent working in the business is what drew me to this movie. While the story is a bit slow, I still liked it and could relate to many of the scenes. I remember going back to my old high school bedroom at my parent's house after moving away. It was pretty surreal just like in the movie when Jimmy comes home, puts on an old Robin Trower record and lays in his bed surrounded by posters of his rock heroes from the days of his youth and sings along at the top of his lungs. I can also relate to bumping into old friends after I had moved away and some of the dialog and reminiscing that takes place. Of course, I loved the soundtrack! Not many movies feature Buck's Boogie, Last Days Of May, See You in Black, Cities on Flames and The Red and The Black! Plus some Trower, Tull and of course Jackson Browne's tribute to roadies, The Load Out! One of my favorite parts is when they are in the bar and Jimmy is trying to describe BOC's music. Something that many have tried to do for years now and failed. Jimmy says "The Thinking Man's Metal" "That's how the critic's described them" and to me that best sums it up. Jimmy and Nicky are in the bar and Cities On Flame is playing on the juke box. Nicky says he never got BOC and Jimmy attempts to explain how good they were to him. The script goes something like this: "And the drumming, it would get all jazzy, but underneath all those f#@%ing heavy riffs!

I mean Buck Dharma, his solo on Dominance and Submission is without question the BEST hard rock guitar solo of the era, hands down! It sums up everything that came before it. I mean Hendrix, Zeppelin, Townshend. Dharma, he takes a little bit from all of them and mashes it all together into one f#@%in' brilliant solo that says, THIS! THIS is what it's all about! It was like science fiction poetry on a turntable. All these weird worlds. They were just so much smarter than everything else that was around. Naw man, BOC, they were better. And they should have been even bigger!" For me the movie was just what I expected, no blockbuster, no action packed car chases, just a movie about coming home to your roots to see your aging mom, your rusted out old car, your old neighborhood, some old high school friends and the collection of vinyl and rock posters in your bedroom that would allow you to escape reality for just a little while.

You don't know me (most likely). But this guy Jimmy (Ron Eldard, in an affectingly understated performance) in "Roadie" is me. Not in every aspect of his life, certainly. But in essence.

Jimmy cherishes, and largely lives in, the past. It is an intimate history, though fraught with it's share of painful memories, that inspires intensely felt emotions of a carefree youth. And much of this joy is generated by a deep, abiding love of an intoxicating (both viscerally and literally) siren sound. It is the powerful, so often times overpowering, beautiful noise of Rock 'n Roll. It permeates not just the atmosphere, but also the soul, with it's rapturous allure.

The only problem is, ya gotta grow up. Or not. Jimmy has decided to pursue a path based on the latter. His is a personal resolution which has perpetuated an adolescent sensibility well into his '40's. And now maturation and responsibility may finally not be just be knocking on his door. They're kicking the son-of-a-bitch down.

Some of what we get with "Roadie" may be considered overly small, petty and sophomoric against the backdrop of this mostly serious character study. The grown-up and now married to each other versions of the principal high school bullies and belittlers who tormented a teenage Jimmy played by Bobby Cannavale and Jill Hennessy comprise the collective case in point. They serve their purpose in terms of the "you can leave high school, but high school never leaves you" plot device. But perhaps that function is a bit overserved here.

In the end, "Roadie" leaves us with the sense that maybe you can go home after all. And loved ones may actually be damn proud of you and what you've done with your life. Even if such sentiment is never expressly spoken.

And, ultimately, we witness touching confirmation that a son always loves his Mother. And vice versa.

Always.

I was really moved by this film , great performances from Lois Smith and Ron Eldard - like the previous reviewer wrote there is great chemistry between them and none of the performances are hackneyed or overworked , its a perfectly practical plot and it allows for the cast to put in some shining examples - the motel scene is particularly effective, as are the kitchen scenes with the Lois Smith doing some excellent pottering ! Don't know why the the reviews haven't been more glowing for this its a little gem of a film , one for reflection and not gushy or sentimental its pitch perfect , great soundtrack too even though there's no 'Reaper from the blue oyster cult

I heartily recommend you watch this with a hangover and you phone your parents and tell them how great they are!