Les Runaways

On occasion, the atmosphere of watching a movie at a theater in a certain circumstance adds to the ambiance. Case in point, The Runaways: I saw it at my local cineplex, where, unbeknownst to me since I last ventured into a particular screen, the one where The Runaways played on (good old theater 8), the sound had gotten a little worse. It was crackly, though one could still hear voices and sound fx and music reasonably well, and on the side of the frames of the 2:35:1 aspect ratio, there was some black fizzle or something. For a more prestige picture or big blockbuster, it might have been a hindrance. For the case of The Runaways, it was just about perfect. This mid-1970's trip through a kick-you-in-the-ball girl rock group complimented the flaws in the stereo-sound and the picture, and it was like listening/watching a worn vinyl LP. This coupled with the attitude of the performances, and some of the songs featured, made it like a near Grindhouse event.

That the movie itself is less than great was to be expected. This is one of those rise-fall rock and roll band stories, one you know well if you've seen at least two or three by now (pick your delicious poison, be it The Doors or even Dreamgirls - 'The Fabulous Stains' from the early 80's wouldn't be far off either). And it also has a distinction of being a rise-fall story for a band that was around for only a few years, a less-than-revolutionary girl version of The Sex Pistols, who all wanted to rock but came from different backgrounds and were beat down before they could fully develop rock star egos by a grubby manager/producer.

For the Runaways, we mostly get the stories of Cheri Currie (Dakota Fanning) and Joan Jett (Kirsten Steward). Many will know the latter, since she's made several big hit rock singles, but some in the audience (unless you're already a big Runaway fan or fan of the movie Foxes) won't know who Cheri Currie was. Perhaps that was the appeal for the director, first-timer Flori Sigismondi, that we get a view into the lead singer and how she's actually got a family and a place she's coming from, as opposed to Joan Jett who (by the appearance from the film) just came off the streets and immediately had to play guitar or die or go to prison. Certainly that, too, has a bit of the cliché to it (un-attentive mother, alcoholic father, same old same old), but the filmmaker is able to straddle the line between Currie, Jett and producer Kim Fowley (unmistakably hammy Michael Shannon, maybe too hammy in some scenes).

Here's the thing that works for the film though: as a real gritty rock movie, as a saga of characters rolling around LA (sometimes right under the Hollywood sign), getting wasted, trashing hotel rooms, getting into madness, being rockers who can stand up to those "men" that Fowley says don't want to see girls on stage. Subsequently in the story in the film, he exploits them for all he can, usually when they aren't noticing until it really affects their appearance as rock and rollers as opposed to beauty queens (or, of course, Currie as one). Again, some of these story elements are familiar, but this is not what makes the film so appealing - I didn't go to the Runaways to get a super-insightful script, save for a few little nuggets (i.e. they trained in a trailer!).

I went to the Runaways to see rock and roll and rock as it blasted away without care back in the 1970's, albeit shown here as a brew of glam (Bowie) and punk (Pistols) and eventually with Jett and the Blackhearts as a straight up rock and roll band, and that's what I got. I was heavily impressed by the performances of Fanning- who can be legitimately sexy and make it both right for her character and uncomfortable for an audience member to see it in the flesh (and boy it is fleshy!)- and Stewart, who flexes her chops while on leave from the Twilight camp. As mentioned, Shannon is a little too over the top, as he was in Revolutionary Road, but that in and of itself is kind of a marvel, as he isn't taking it seriously, but still has a good time. And the music... ah, for the right fan at the right time, it's blissful to hear and the be blown away by even a movie version of The Runaways, who make one want to rush out and buy any song they recorded. Who knew a revealing, raw-cum-conventional bio-pic would be their best advertisement in years?

Greetings again from the darkness. Getting dragged back to the mid-70's can be quite fun, especially when the topic is rock 'n roll. Based on lead singer Cherie Currie's autobiography, this film provides an overview of the formation, sudden fame, and equally sudden dismantling of the first all-girl's rock band, The Runaways.

Joan Jett was the heart of the band, but it took oddball music producer Kim Fowley to put the band together and get the recording deal. Fowley may be the most interesting character in this story. Here he is played with force by the very talented Michael Shannon (Revolutionary Road).

Instead, the story focuses on Cherie Currie and Joan Jett, mostly Currie, since it is her book! Dakota Fanning plays Cherie Currie as a confused 15 year old with a messed up family life. The family includes a mom, played by Tatum O'Neal, who announces she is getting married and moving to Indonesia. Currie's dad is a very sick alcoholic, so she is an easy recruit for Fowley and Jett. Jett is played balls-out by Kristen Stewart. Yes, Kristen Stewart from Twilight. Here she shows much more of the talent we saw prior to the Twilight series. She captures the fire and spirit of Joan Jett and leaves little doubt she will pursue her dreams despite all obstacles.

Overall, the script comes up short and provides us little more than headlines and a quick glimpse. Would have expected much more on talented guitarist Lita Ford, who continues to work today. For a quick intro to the story of The Runaways, this one is fine. Just don't expect much depth.

I've been a Runaways fan since 1976, so I had been anticipating this film for a long time. Having read Cherie Currie's book, Neon Angel, on which the film is very loosely based, I was pretty familiar with the broad outlines of the story. As with any film adaptation of a book, I knew they would leave some things out and streamline other things, and I also suspected the film wouldn't be as dark as the book, which turned out to be true.

What the film really nailed was the relationship between the Runaways and their sleazy manager/producer Kim Fowley. Michael Shannon does a fabulous job playing this over-the-top character. His expletive-filled rants are simultaneously hilarious and cringe-worthy.

The stars, Kristen Stewart and Dakota Fanning, are both excellent as Joan Jett and Cherie Currie, respectively. Stewart displays Jett's consuming passion for rock and roll and her desire to work hard to be a star. Fanning does a very good job balancing Currie's conflicting desires (to be a rock star and be with her family). It's no secret that the film doesn't spend much time with the other three members of the band. I have no problem with that, since Jett and Currie are, for me, the most interesting and most talented members.

The film does a great job showing the band performing. Stewart and Fanning clearly worked hard to be believable as rockers, and it paid off. You see the progression of both characters from neophytes to seasoned performers, and it works. Another aspect is the struggle by the Runaways to be taken seriously. There were very few hard-rocking ladies in 1976, so they faced a lot of skepticism. The film shows this very well.

The music is very good. The new versions of Runaways songs are good, although Fanning sounds nothing like Currie. The period songs are a nice selection, from David Bowie to Gary Glitter to the Stooges. The filmmakers nailed the look of the period as well. The clothes, hair, furniture, etc., are just right.

Overall, this is an excellent film. I highly recommend it.

"You hear that? That's the sound of hormones raging."

The Runaways is at the opposite end of the spectrum from most recent music biopics. Where movies like Ray and Walk the Line aim for emotional resonance and creating a connection between an iconic figure and the audience, The Runaways is about style, dramatics, and looking good. Which is pretty in line with what the band was about. The sobriety of those movies I previously mentioned wouldn't have worked for such a hyper- kinetic story as this one. Sure, the movie slows down a bit when the crash and burn sets in, but the focus on style, sound and imagery is never really replaced by anything else. And I mean that as a compliment. 

Michael Shannon didn't really work for me as Kim Fowley, but the movie wasn't really about him, anyway. The five girls playing the group seemed to have an inappropriate amount of fun with their roles, and who wouldn't? You can't help but be impressed by their performances, they play and act like a real band. But no doubt about it, this is Kristin Stewart's (Joan Jett) and and Dakota Fanning's (Cherie Currie) show. They don't let you forget it. Not many actresses their age would have the talent and the balls to take something like this on. They do it, and do it right. I left the movie with a healthy amount of respect for both of them.     

The entire movie plays out like a music video about all the things you would be mortified of seeing your teenage daughter doing, but of course, would make her cool to do. Which makes sense, as the director (Floria Sigismondi) is best known for directing music videos. The cinematography gleefully sells the same excess, ego, and intoxication that the Runaways' image did. All the band's songs that are woven throughout the movie keep it moving at a super-charged pace. 

You have to tailor the tone of a film to its subject matter, in order for it to be successful. The Runaways is the true(ish), female version of sex, drugs, and rock & roll, and I couldn't help but really enjoy every bawdy and inappropriate minute of it. Get in a Runaways frame of mind, or don't even bother with this one.

I became a huge fan of Joan Jett with her first #1 single, I LOVE ROCK N ROLL, back in 1982. For years I remained a devoted follower of her albums, saw her in concert up close at small venues, and even got to meet her in person on a few occasions including getting to go backstage after a gig in 1985. It was only once she'd become popular that I discovered that she was originally in an all-girl rock band called The Runaways. Thus I found myself going back and collecting Runaways records too. So for me, this film was something to look forward to.

As Jett has confirmed in interviews, THE RUNAWAYS is mainly true, but there are some artistic liberties taken. The now-51, black-haired rock veteran stayed on the set so young Kristen Stewart (who portrays a teenaged Joan) could observe her movements and ticks, and also to make sure the story stayed somewhat in the right ballpark. The movie begins in 1975 and chronicles Joan's early years as a die-hard rock and roll chick with a rebellious nature who learns to play guitar and wants to form a hardcore, all-girl rock band ("No guys!" she insists). She stumbles upon the eccentric record producer Kim Fowley (a faithful rendering by Michael Shannon) who likes Jett's cool spunk and determination, but is more struck with the seedy possibilities of exploiting an orgasmic teenage girl band with guitars ("Jail-F'ing-Bait!" he exclaims with glee, pumping his fist). Together, Jett and Fowley seek out other band members. They comb the dark nightclubs where loud vintage '70s music by artists like David Bowie plays, for a blonde girl with just the right look to function as the lead singer for their group. It's there that they discover 15-year-old Cherie Currie (Dakota Fanning), who's not far removed from her first period and who is desperate to become a singer. The Runaways are formed with Cherie up front possessing no strong rock chops, but getting pushed by Fowley and Jett to vocalize and gyrate like a slut having an orgasm. The girls practice enough to eventually get signed by Mercury Records and take off on a trip to Japan by 1977, which was the only place they struck it big, almost becoming as huge as The Beatles there. As many familiar rock and roll stories go, Currie becomes absorbed in the drug world and ultimately tensions mount within the group.

THE RUNAWAYS was partly based on Currie's autobiography, and in a way she is the focal point of the story. Dakota Fanning does a pretty decent job handling this type of slimy material, considering she was only 15 herself during filming. It's too bad though that her character is just not that interesting and, for me, young Dakota never quite captured the presence of the real Cherie onstage. I'm admittedly more biased toward Joan Jett, but it's Jett's driving persona which is the most compelling ingredient of the film. I was concerned Kristen Stewart might think that sporting a dyed black haircut would be enough to become Joan Jett, but she actually nailed the aggressive nuances of Jett perfectly. Joan is portrayed as the one member in the film who treats the band seriously, loves and breathes the experience, is committed and tireless. It's a small wonder she had such a successful and long-running solo career after the group disbanded. And Kristen's singing just blew me away -- both Stewart and Fanning sang for the movie -- and Stewart sounds exactly like Jett as she belts out part of one of Joan's original early songs, "I Love Playin With Fire". Unfortunately, the movie only gets to see one song rendered in its entirety: "Cherry Bomb" (sung by Dakota), which was considered the band's only "hit", and was co-written by Fowley and Jett, specifically for Cherie to learn and sing. The rest of the soundtrack is pretty good, with background songs by Bowie, Iggy Pop, the Sex Pistols, and even the real Runaways themselves. As someone familiar with the original Runaways recordings, it was fun for me to pick them out in snippets here and there.

The problems I had which kept me from giving the film three stars were that this isn't really anything we haven't seen before, and it's something of a typical cookie cutter rock screenplay with no soul other than the determined presence of Jett. Really unfortunate was that the other three female band members were largely ignored. Not so much drummer Sandy West (who died of lung cancer in 2006); she gets a few lines and respectful moments. But lead guitarist Lita Ford (who had some fleeting success of her own in the '80s) was strategically left out of the action because in real life she and Joan Jett's camp have undergone some personal problems (Ford says Jett's longtime manager Kenny Laguna "disgustingly" offered to buy Ford's life story for a thousand bucks). Reportedly, Lita has threatened to sue if not portrayed accurately in the film. While she is largely disregarded, there are moments in the movie in which Ford (played by Scout Taylor-Compton of Rob Zombie's HALLOWEEN) completely comes off as a whining bitch. Most outlandish is that real-life bass player Jackie Fox was completely written out and is now replaced by a totally fictitious character called "Robin" (Fox is a lawyer today, so one may assume the filmmakers weren't taking any chances). In 2004, one-time Runaway Vicki Blue made a documentary called EDGEPLAY which is worth seeking out for the real dirt about The Runaways. Joan Jett refused to participate in that project, but it's got recollections from Lita Ford, Jackie Fox, and Sandy West. It makes a good companion piece to this film, and doesn't pull punches. I had some fun with THE RUNAWAYS, but it's something of a watered down version of what actually happened and could have been a bit tougher and more dramatic. **1/2 out of ****