Eddie and the Cruisers

This movie evokes strange feelings of going back down a road, I have been on before, but did not recall ever being on it.

This was one of those movies I watched on cable during the eighties without noticing much. I would only watch it, if I had nothing else to do.

That said, I was amazed how much I remembered from this movie, when I watched it again recently. Probably because this movie has a lot going for it, that I never considered. It is a good story, with some mystery that compels one into the story. The movie has a good sound track and made an interesting point that good musicians feel tortured when trying to express themselves musically.

The Michael Pare films are flawed. The John Cafferty music is too much Springsteen and not enough 50's. The sequel was a bad joke. None of this matters. "Eddie and the Cruisers" by P.F. Kluge is probably the best novel ever written about rock'n'roll, and even though it lost a lot in translation to the big screen, the magic is still there. If you like the movie, you simply owe it to yourself to read the book. Then you'll really understand.

One creepy mystery: aside from a couple of minor TV appearances many years later, Helen Schneider ("Joanne Carlino") never made another film after this one. Whatever happened to her? Did she also "pull a Rimbaud"?

This is probably my all-time favorite movie. I can't explain why in terms to satisfy most people though. It's just one of those things. I love the music and have been to see John Cafferty and the Beaver Brown Band many times since the release of this movie. The idea that a prominent celebrity could vanish from society is a thrilling storyline for this movie. Its movies like these that help people whose loved ones are missing to keep the faith. It also breeds fantasy that stars like Elvis and Jim Morrison are still alive. I could write more but I'd rather go watch this movie!!!

Disregard what the big time movie reviewers may say! Despite a poor sound track, there is much more to this film than is obvious within one viewing. It took me awhile to get into it, but once I did, I loved it more with each viewing. The underlying premise of the film, that there was, indeed, a definitive crossover point between the innocent early rock and roll music of the 1950's and the deeper coming of age sounds of the mid to late sixties is quite real. And the charismatic title character "Eddie" has sensed this change in the wind, but is unable to convey his vision to those around him. Yes, there are a little too many flashback scenes for my taste, but all in all the film had something to say that deserves to be heard.

Released in 1983 and directed by Jon Amiel, "Eddie and the Cruisers" is a rock drama about a TV reporter (Ellen Barkin) who picks up the story of a legendary early 60's rock band that prematurely ended when their charismatic leader, Eddie Wilson (Michael Paré), died when his Chevy went off a bridge, although his body was never recovered. The newswoman interviews the living band members 18 years after their heyday and tries to track down the missing tapes to their never-released avant-garde second album. The band members are Frank (Tom Berenger), Joann (Helen Schneider), Sal (Matthew Laurance), Kenny (David Wilson) and Wendell (Michael "Tunes" Antunes), while their bullcrappin' manager is Doc (Joe Pantoliano).

This was the inspiration for 2009's "The Perfect Age of Rock 'n' Roll" but both movies have their distinctions, as well as pros and cons. "Eddie" is about a band from the early 60s whereas "The Perfect Age" is about a Guns N' Roses-type band whose heyday was in the 80s. Each film starts out shaky as the story is set-up, but they progressively get better. Both films feature charismatic frontmen with diametrically opposed styles, but also very similar when you think about it. Each feature revealing chats amongst the characters with "Eddie" shining in the final act when it unveils Eddie's youthful place of solitude, Palace of Depression (which is an actual place in southern New Jersey, Vineland; a building made of junk built by the eccentric George Daynor, a former Alaskan gold miner who lost his fortune in the Crash of '29). Growing-up, my gang had several hidden spots where we'd meet, each with a name known only to us; I even had a personal "My Place" in the woods behind my parents house on a lake where I'd often go for private reflection. When I was 15 I planned to commit suicide there, but thankfully didn't go through with it. The movie gets points for including such an existential element.

Was Eddie still alive or did he die in 1964? The ending reveals the truth and the way it's done is superlative.

So which movie is better, "Eddie" or "The Perfect Age"? They both shoot for greatness and in some small ways attain it. Disregarding the rockin' performances, "Eddie" is more location-bound and therefore dramatically sedentary whereas "The Perfect Age" is a road movie in disguise and therefore seemingly more eventful. In my opinion the music's better in the latter, but then I prefer the heavier side of rock/metal over the Bruce-Springsteen-in-the-early 60s style of "Eddie" (which is good for what it is, don't get me wrong). "Eddie" stands out for including the Palace of Depression angle and contains superb lines in the final act, but "The Perfect Age" soars in its own way, like Spyder & Eric's brouhaha in the rain and the blues bar sequence (featuring cameos by legends Sugar Blue, Pinetop Perkins, Hubert Sumlin, Willie "Big Eyes" Smith and Bob Stroger). Then there's the powerful climatic scene in "Perfect Age" at Spyder's ritzy mansion with Jane's Addiction's "Three Days" playing in the background, which just so happens to rank with the all-time best cinematic scenes utilizing rock songs, like the close of 1998's "Buffalo '66" with Yes' incredible "Heart of the Sunrise."

The songs by the fictitious Eddie and the Cruisers were composed/performed by John Cafferty and the Beaver Brown Band. The main song, "On the Dark Side," became a #1 hit for the band and "Tender Years" was a minor one. Most of the cast weren't musicians, although Matthew Laurance (Sal) learned how to play bass for the movie. Only Michael "Tunes" Antunes, the sax player for the Beaver Brown Band, and Helen Schneider (Joann) were professional musicians.

Speaking of whom, I can't close without mentioning how Helen really shines here. No, she's no Meryl Streep, but she's great for her role in "Eddie." You could say she's The Perfect Rage of Rock 'n' Roll (sorry, that was just DUMB). I should also add that it's interesting to see Berenger, Barkin and Paré when they were so young.

The film runs 95 minutes and was shot entirely in New Jersey with the exception of the college sequence, which was filmed just across the Pennsylvania border at Haverford College.

GRADE: B+