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.

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!

Jimmy was a roadie for Blue Oyster Cult all his adult life who has - painfully and wrongfully according to him - been fired by the band and left by them somewhere in the wilds of Michigan. With nowhere else to go, he makes his way back home to Queens where he has not been since his father's death many, many years before. He has barely spoken with his mother in the interim and now he overstates his role with the band to her - manager, writer, producer, etc. He tries to collect himself to deal with this massive setback, but he is not making the situation any better with angry calls to the band's actual manager.

I think that roadie is one of the coolest jobs in the world next to rock star and Jimmy does as well. I, too, would have major problems dealing with his rude awakening after so many years and the loss of his livelihood and dream.

Out for some butter for his Mom's famous tuna melts, Jimmy runs into a high school classmate who is and was quite a butt-head who is now married to Jimmy's first love, Nikki. Jimmy and Nikki wind up back in his boyhood room which is untouched by time and looks like a "rock and roll museum" according to Nikki.

Out of his vinyl record collection, Nikki pulls out Ratcity In Blue by, local 70s favorites, the Good Rats and they listen to a couple of tracks. This brings back memories of seeing the band every Saturday night with their friend Steph - who passed away unbeknownst to Jimmy.

This movie is about real people, with lots of issues, who love music and are dealing with some very real problems. If you enjoy music, have been on the road with a band or thought about doing so (one of my life's regrets is turning down an offer to be a roadie) you will really like this movie.

Full disclosure - I also own this "original" album with the cool pizza sleeve art, am a huge Good Rats fan and may have seen Steph, Nikki and Jimmy at one of those Saturday night shows back in the day. My heartfelt thanks go to Gerald and Michael Cuesta for a wonderful film and soundtrack including these New York music legends and a great version of Jackson Browne's Stay by Adam Duritz of the Counting Crows. Did they misspell "Peppi" Marchello in the closing thanks to him?

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.