By Thomas Willett
I remember sometime last week just sifting through movie articles and looking for something that grabbed me. It wasn’t for a story, but for that moment where I got excited. It has been awhile since I have had more than a dip into that well. Suddenly something struck my eye that I wasn’t even suspecting to be good. It was the first Les Miserables trailer featuring Anne Hathaway’s rendition of “I Dreamed a Dream” over random snippets of the movie. I cannot recall too much from that trailer by memory (besides a bald Hathaway), but somehow I felt moved by the song. I am not a Les Miserables fan, but it has now become one of my most anticipated movies for the tail-end of the year. It made me want to see more movie musicals. However, the closest choice is Rock of Ages.
If you look at the Rock of Ages acting corral alone, there is something that could work: Paul Giamatti, Bryan Cranston, Russell Brand, and Alec Baldwin in one film together directed by Adam Shankman of Hairspray fame? Yes please. However, until I saw the first trailer, I only thought of this musical as a parody of glam rock, i.e. Velvet Goldmine. Then I saw the footage and my heart sank. Put aside my distaste for Tom Cruise, there is just so much that I take offense to.
The first is the general premise about hair metal music, which I find to be pompous and one of the greatest long-term detriments to modern rock. I won’t get into how it feels soulless and clearly just made to get with groupies. Instead, I will continue to focus on the aspect that annoys me the most. This is a musical. This is a musical where all of the music comes from 80’s rockers like Bon Jovi and Joan Jett. It leaves me asking where the soul of this movie is supposed to resonate if they cannot even create their own content.
This is a concept that I generally have disfavor for. I am of the mindset that musicals need to have a strong central focus. If you’re going to not use original music, make it thematic and borrow from a singular artist. I give credit to Mama Mia on the simple basis for sticking to Abba songs. If you are clever enough to find a plot out of one artist’s catalog, I feel that you bring more meaning to your show. By throwing every artist under the sun into the mix, you’re just going too broad and end up feeling like an amateur. Also, depending on your singers, the music can easily be ruined in the transition.
I suppose that it is too late to say that I am not the expert on musicals. I know what I like, but I cannot give you more than a basic familiarity to the Top 40 of the musical world. My history with actual stage shows is spotty, as musicals aren’t a middle class luxury. Thankfully Fathom Events has made it more accessible over the past few years, but it still isn’t as good as being there. I suppose that this is why when I do go to see something like Spamalot or the Producers, I feel more enthused by just being there. The simple fact of seeing live theater excites me because it may be scripted, but those aren’t machines on stage. They are humans who are fowl to error. Even if everything goes right, there is joy of being in that moment.
Where did this faint interest in theater start? I will give you the culprits: Willy Wonka and the Chocolate Factory, West Side Story, and Andrew Lloyd Webber. Since I was a little kid, these three things have been in my life and are the sole reasons I like musicals. These are also the blueprints for what I look for in everything that I’ve seen since. Sadly, I think that the plot-centric music of West Side Story was the reason that I was annoyed by Singin’ in the Rain recently. I just cannot define anything as a musical unless the song moves the plot forward in a fun and spirited way, not drag it on for a pointless ten minute dance number.
The earliest memories of music powering movies for me will always be Willy Wonka. As an infant, I watched it on a VHS tape looped with Big incessantly. I just remember the music capturing me and by the time they sang “I Got a Golden Ticket,” I was able to overlook the medical inaccuracy of Grandpa Joe’s bed ridden life (how can you dance that well if you never use your legs?) and just sing along. Of course, the Oompa Loompas cemented the idea that you could learn lessons through songs, whether they be about gluttony or greediness. I’m beginning to think my parents subliminally taught me to be a good boy through these moments.
The next two can be attributed to my mother and are more in line with stage musicals. She is most responsible for making theater seem acceptable by her excessive use of “the Phantom of the Opera” and “Jesus Christ Superstar” soundtracks to fill dreary childhood afternoons. While I have never seen any version of the former, I always connect the opening organ with lazy Saturdays at the house. To this day, my mother remains an obsessive who casually quotes it when the moment’s right.
Along with West Side Story, I think that the early introductions are responsible for my desire to hear the person singing the song. The cadence and passion needs to be there for me to really grasp. Basically, there needs to be personality. Watching the Les Miserables trailer, I think that I was most moved by the complex melodies. I cannot get into hardcore opera, but melodies have always been a vice when done right. The fact that I assumed that she was singing about personal pain made it easier to connect. It probably explains my interest in novelty, which lives and dies by the performer’s dedication.
With all of this said, I don’t have a lush history. Through unknown forces, I am able to recite songs from shows that I have never seen. The amount of Showboat that I know seems odd when you take into account how little I’ve paid attention to it. I just enjoy discovering a song and feeling like it means something, if not to the character, then the plot. I also enjoy those few that can become transcendent pop tunes that fit any occasion. As it stands, “Book of Mormon” has plenty of moments that reflect my views exactly.
What does this have to do with modern movie musicals? It has established what I look for, and maybe ruins the lighter affairs for me. There needs to be complexity, meaning, and original or centrally themed music. If it doesn’t have the last one especially, I tend to not consider it a musical. Majority of movies have musical accompaniment in some regards, but playing “Son of a Preacher Man” in the background doesn’t make Pulp Fiction a musical. Even movies with original music like Harold and Maude are stretches, as the music doesn’t necessarily drive the story.
Looking into modern works, I also am surprised by how little output there has been. The last one I saw on the big screen was 15 minutes of Mama Mia (we had to kill time somehow). The last one I paid for was Eight Crazy Nights. The last one that I liked was either Hairspray or Tim Burton’s Sweeney Todd (both 2007). As you can see, my record is spotty. I suppose that is because there just isn’t that much being produced, and that which is appeals to a crowd that I am not part of. However, as I discover the older titles, I became fascinated with the possibility with seeing one on the big screen. I feel that I haven’t been immersed in one properly.
I am hoping that maybe Les Miserables will fix that. In truth, I know that this particular story is one of the most popular amongst theater geeks. I’ve heard numerous asides in my life detailing the emotional powerhouse that are those songs. I have held off because I associated it with phrases like bummer and depressing. Even the movie didn’t appeal to me, as it was directed by Tom Hooper of the King’s Speech fame. Then that trailer sold me in a way that only Argo has done this year: giving me a glimpse into some wonderment and unexpected moments of intrigue. I am now convinced that this could at least get a Best Picture Oscar nomination.
I don’t request that you take my word seriously. I have a very limited view on this world, but what I am familiar with unfairly justifies everything else. Because of Gene Wilder as a kid, I now want everything to have substance and authenticity. I don’t see Rock of Ages really providing a profound cover of Def Leppard. I don’t see Tom Cruise’s character having an emotionally fulfilling story. This feels like hollow candy meant to entice, but leaves you queasy and ripped off. I wish there was more for me to say, but I am not more than a casual fan of this genre. I have nothing to really nitpick. If you want a deeper conversation, consult my mom, and thank her for at least starting me off with an open mind.
You can read Thom’s blog every Wednesday and hear him on Nerd’s Eye View every Tuesday and Thursday at nevpodcast.com. Send your thoughts to nevpodcast@gmail.com. You can also read Thom’s movie reviews for Cinema Beach at cinemabeach.com.
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