Now late in his career, director and actor Clint Eastwood seems to be steering away from pictures that demonstrate that he can produce landmark films. After all, he already has. The 83-year-old director already produced a best picture: 2004’s Million Dollar Baby, which won Best Picture, Best Director for Eastwood and a nomination for Eastwood for Best Actor in a Leading Role. Most of his career has been in acting. He has made his mark in a number of landmark and unforgettable films including many Dirty Harry movies, The Eiger Sanction and The Bridges of Madison County.
With life still ahead of him Eastwood has the luxury of directing movies that will probably not add another Oscar trophy to his wall, and will be seen as less than stellar, but are still quite good movies in themselves. Jersey Boys, a movie that chronicles the life of Frankie Valli and the other members of singing group The Four Seasons falls into this category. It’s very well done, quite engaging, with excellent acting and flawless directing. Still, aside from telling an interesting but not too surprising story about the various flaws and conflicts of the men in this 1950s and 1960s singing group, there’s not much here to write home about. It’s simply a very well done human-interest story.
Eastwood did not have to spend too much time on this movie. The music of The Four Seasons of course is burned into the brains of any of us fifty-plus, plus this movie is heavily based on the Broadway musical with the same name as the movie. Frankie Valli (John Lloyd Young) is known not so much for his face as for his voice. His voice was utterly unique for his time: a falsetto voice so high-pitched that you expected it came from a woman, or perhaps a man who had not quite finished puberty. His voice sure was distinct and powerful. You could not hear it without it drawing your attention. As distinct as it is, it was made better by the blended and contrasting lower registers of the other men in the band, including the group leader Tommy DeVito (Vincent Piazza), Nick Massi (Michael Lomenda), and songwriter, lyricist and backup vocalist Bob Gaudio (Erich Bergen).
The band went through many names before they standardized on The Four Seasons. All of them came from New Jersey, known for its large number of Italian immigrants and their descendants and its Mafia. These boys, and Frankie is a minor at the start of the movie, are frequently getting in trouble with the law. They have Mafia connections as well: specifically Gyp DeCarlo (Christopher Walken) who has shady connections that are never made clear, but who seems a benign sort of mobster, and who eventually befriends Frankie.
Success eludes the group, but their otherwise spendthrift manager Tommy at least is smart enough to sense a lot of talent in Frankie and brings him onto the group. Still, his presence is not enough. Their most critical problem is a unique sound, and it is not until the shy, virginal but business-savvy songwriter Bob is integrated into the group that their breakaway hit “Sherry” emerges. From then on their career takes off something like a rocket. But unsurprisingly they often grate on each other. Tommy insists on being in charge, even though he squanders money and hides their financial troubles. Tommy and Bob share hotel rooms and snipe at each other. And Frankie rightly feels that he is the breakaway star of the group, and wants recognition that Tommy won’t give him.
It’s all this plus they’re Italian, so they are used to dealing with issues with fisticuffs and cursing. Inevitably, they enter into a number of bad relationships with women. Frankie largely succeeds in at least being faithful to his wife Mary (Renée Marino), but she resents his time mostly on the road and expresses her feelings in explosive arguments and by hitting the bottle. At least on stage, these Jersey boys give quite a show. They eventually land gigs on American Bandstand and The Ed Sullivan Show. They do manage to hang around together for more than ten years, but inevitably they can’t keep up appearances. Tommy’s squandering of their income leaves their band deeply in hoc to a gangster and the IRS. Meanwhile, Frankie’s children grow up, and his daughter goes through major crises caused by his absence, and she eventually kills herself.
I hope I have not given away too much of the plot. The plot though does not matter so much, as its devotees know it anyhow and this is simply a human-interest story. These are the sorts of squabbles we all have to deal with, but that happen to more prominent people. Aside from the excellent acting and singing, Eastwood makes it shine with a flawless rendering of the 1950s and 1960s and by keeping our attention on the oversized talents and vulnerabilities of these young men arguably from the wrong side of town.
So it’s the combination of the directing and the frequently toe-tapping singing and dancing that makes this movie memorable in spite of its rather pedestrian plot. Stay through the credits, because the clever dance number during the credits may be the movie’s high point. I haven’t seen the musical but I suspect its ending came from the musical. You may want to wait until the final credit scrolls past the screen because the music of The Four Seasons is instantly infectious, even fifty years later, and you’ll want to hear every note.
3.3 points on my four-point scale.
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