Cinemanovels [2013]

MPAA (R)  ChicagoTribune (2 1/2 Stars)  Fr. Dennis (3 Stars)

IMDb listing
ChicagoTribune (M. Phillips) review

Cinemanovels [2013] (written and directed by Terry Miles) is a Canadian indie film, that in its politeness, even as it touches potentially explosive subjects, feels to this American (re)viewer remarkably ... Canadian ;-).  The film has played recently at Chicago's Facets Multimedia,

The film centers around a nice if seemingly ever disappointed 30-something Canadian woman named Grace (played by Lauren Lee Smith) married to a polite (if at times amusingly contradictory) 30-something Canadian investment banker named Ben (played by Ben Cotton).

Together they've been trying to have a child and it hasn't been particularly easy.  Indeed in the opening scene, we see the two in a rather perfunctory if at least apparently "private" room in a fertility clinic with Grace (hand off-screen) apparently tugging at Ben's ... in hopes of collecting a sperm sample to leave at the clinic, the sounds of some sort of a porn film heard in the background.  It seems rather clear that neither of them are particularly into it -- it becomes clear as the film goes on, that they've been "there" before -- but the task needs to be done.   Eventually, there's "success."  Ben's sperm sample is dutifully collected in a specimen cup and just as dutifully capped.  Ben puts his pants back on, kisses his wife and presumably heads off to work.  Grace is dutifully left to carry the capped specimen cup to the nurses' station for analysis.  But it's obvious that she's tired of this, or otherwise doesn't see the point.  On the way to the nurses' station, she stops in a bathroom and ... switches the sample for a few mL's of hand soap ;-).  Would ANYONE really recognize the difference (of course they would ... BUT WOULD IT MAKE A DIFFERENCE ANYWAY ...)?

So we get a sense of Grace's state of mind fairly early on.  Now why would she be like that?

Well, it turns out that she's the daughter of an über-famous Canadian, francophone to boot, (fictitious) director, recently deceased, named John Laurentain.  We hear him eulogized by two super-earnest, indeed fawning media critics at the close of some random CBC television program as: "One who taught us all, anglophone and francophone, what it means to be Canadian."  Wonderful.  The only problem for Grace is that SHE HARDLY KNEW HIM.  WHY?  BECAUSE HE RAN OFF WITH A YOUNG (presumably) QUEBECOIS STARLET NAMED "SOPHIE" WHEN GRACE WAS THREE (Sophie, who then starred in most of Laurentain's films, was played absolutely perfectly in her magnificently _pretentious_ existentialist 60s-70s era roles by Cate Michaud).

So, "national" / "Quebecois" treasure though he was, he was also a "___" as Grace's best friend Clementine (played by Jessica Beals) reminds her.

Yet "____" though he was, he was ALSO Grace's dad.  So ... early in the film, after going over to sign some papers at her father's film production company (presumably in Montreal or Toronto), she finds herself volunteering to curate a "retrospective" of her father's work EVEN THOUGH SHE HATED HIM AND HAD NEVER EVEN SEEN ANY OF HIS THIRTY-FOUR (!) FILMS, but also PRECISELY BECAUSE IN LIFE SHE KNEW NEXT TO NOTHING ABOUT HIM THIS COULD PERHAPS HELP HER TO UNDERSTAND WHO HE ACTUALLY WAS.  Talk about inner conflict ... When she explains all this to Clementine, she (as supportively as she could) just shakes her head ...

The rest of the movie unspools from there.  Unsurprisingly, Grace procrastinates with the project, even as she ALSO remains supremely ambivalent about whether she really wanted a child with her investment banker husband (who for amusement liked collecting and READING pompous, extremely _heavy_ "classical Communist literature" on the side ;-).  Eventually, she gets help from a young media exec / neighbor of theirs named Adam (played by Kett Turton) who it turns out to have written his thesis on her father's work.

It's all quite painful, but as the film proceeds (not much of a SPOILER) ... she inevitably comes to better understand her now deceased father.  And indeed, this is why I went to see the film, and why I do think that the film would be worth the time to see for MIDDLE AGED CHILDREN of (NOW) AGING OR EVEN DECEASED PARENTS.

I do honestly believe that as one enters into one's own middle age, one can come to start to understand the decisions / mistakes / "mistakes" of one's parents when THEY were middle-aged and PERHAPS then one can come to accept them and, as needed, forgive them.

This is a Canadian film, so it is LESS angry than the recent American film People Like Us [2012] that covered similar ground.  Still, it gives middle aged people, perhaps angry at their parents, a chance to reflect on their own parents' lives and perhaps be able to understand them better and forgive them as well.

In that sense, I can only applaud this very nice, if at times exasperating, appropriately R-rated, Canadian film: It tries really hard to make, in the end, a very nice point. 


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Transformers: Age of Extinction [2014]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (1 1/2 Stars)  RE.com (2 1/2 Stars)  AVClub (C-)

As part of my contribution in our parish's participation in the Archdiocese of Chicago's Campaign "To Teach Who Christ Is," I've decided to forgo seeing (and therefore reviewing here) one or two movies a weekend and instead contribute the money I would have spent to the campaign.

I'm trying to be strategic about this, picking movies that would "hurt somewhat" to miss, that is, films that are not "so bad" that I wouldn't see them anyway nor movies that I really would need to see/review or else my blogging effort would cease to be worthwhile.

As per my custom, I will try to provide links to usual line-up of reviews that I also consider as I write my own.

This week I chose to not see ... Transformers: Age of Extinction [2014].  To some that may be "no surprise."  Yet, I did actually write extensively (and reviewed quite favorably) the previous installment Transformers 3: Dark of the Moon [2012].  It's just that on a limited budget ... Plus, why do these films have to be sooo loooonnnnggggg?  Anyway, since T3:DotM [2012], there have been several other popular films that have continued to discuss humanity's increasingly complicated relationship with technology (notably Her [2013] and Transcendence [2014]. In addition, the Science Channel's popular series Through the Wormhole [2010+] devoted an entire episode to the question of whether Robots will be the next step in human evolution).  So if nothing else, as one watches (or simply calls to mind the prospect of) GIGANTIC transformer robots descending onto earth to ABSOLUTELY DEMOLISH humanity's most prized previous achievements, perhaps this can be an invitation to reflect on the possibilities and implications of the increasingly blurred distinction between us and the gadgets we make.

Then again, we might just stand mesmerized in front of the fireworks and mayhem.  The 4th of July is coming up, after all...

In any case, there's plenty of mayhem in the Transformer films.  Perhaps though, they can still invite us to reflect on something more substantive than just crashing buildings ...(We've been through that for real afterall...)


ADDENDUM:

Fascinatingly, Transformers: Age of Extinction [2014] became the first movie of 2014 to break $100 million for its opening weekend in the U.S.  Generally movies like this are supposed to "do well" overseas.  But in this case, this movie hasn't even been released outside of the United States until the World Cup ends, and it still made this kind of money _here_, domestically in the U.S.A. 

I've long maintained on my blog that when a film like this -- basically "HUGE shape-shifting ROBOTS arrive FROM OUT OF NOWHERE to SMASH THINGS (as well as each other)" -- makes this kind of money, it's because it "speaks to people" on "a deeper level" that goes beyond the rational.  This film is clearly one of archetypes and the collective subconscious:  Technology can be experienced today as "shape-shifting" and punishing / humiliating to "ways" and achievements "of the past." 


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Kirikou and the Sorceress (orig. Kirikou et la Sorcière) [1998]

MPAA (Unrated/w. Parental Warning)  Eye4film (3 1/2 Stars)  Fr. Dennis (3 Stars with Expl)

IMDb listing
NYT (E. Mitchell) review
BBC (J. Russell) review
Eye4Film (A. Wilkenson) review

Kirikou and the Sorceress (orig. Kirikou et la Sorcière) [1998] [IMDb] (written and directed by Michel Ocelot [IMDb] is a children's animated film based on West African folk-tales that I recently purchased at the 2013 Chicago African Diaspora Film Festival held recently at Facets Multimedia in Chicago.  (My religious order's annual Provincial Chapter conflicted with much this year's festival.  So instead of attending many of this year's selections, I purchased a number of films from previous festivals that they had on-sale at the showing, of Jews of Egypt [2013], that I did manage to see).  The current film, Kirikou and the Sorceress [1998] [IMDb] is available for streaming-rental on Amazon Instant Video and for purchase on DVD at AfricanDiasporaDVD.com.

Parents should know that this film is an originally French rendering (though dubbed in English) of a traditional West African folk tale.  So the characters are depicted as dressed, or more to the point, as undressed, as one would expect to find them in their traditional West African village: the women are depicted topless as a matter of course and children playing in rivers and streams or dancing on the village grounds are depicted naked as well.  This is all done basically in "National Geographic" style, but it certainly deserves note here.

The story is about a precocious boy named Kirikou (voiced by Doudou Gueye Thiaw in the French version and by Theodore Sibusiso Sibeko in the English one).  At the beginning of the film, still in his mother's womb, he tells his mother (voiced in the French version by Maimouna N'Diaye, and in the English version by Kombisile Sangweni) that it's time for him step-out and enter into the world.  She tells him that if he can tell her that already from the womb, that he could make his own way out on his own, which he then does -- crawling out from under her skirt.

He then asks for his father and his mother tells him that all the men of the village have been killed and eaten by a wicked sorceress named Karaba (voiced in the French version by Awa Sene Sarr and in the English version by Antoinette Kellermann).  Karaba was a hateful woman who lived in the woods outside the village.  She had been tormenting the village for years.  And yet, no one could get to her as she was protected by a large number of animated wooden fetishes (statues).

So leave it to the little boy Kirikou to slowly remove the curses set against the village by this seeming evil sorceress, peal away her defenses and finally through the assistance of a wise old man (voiced in the French version by Robert Liensol and in the English version by Mabutho Kid Sithole) who lived in a citadel deep inside a nearby volcano, figure out why the sorceress was acting so wickedly and how she could be changed.

Of course, the story ends well, with Kirikou saving everyone and all.  The traditional "National Geographic" style nudity may disconcert many American viewers.  However, the payoff to others would be the realization that this story, based on traditional West African folk tales, certainly predated the recent Disney film Maleficient [2014], and probably predated the first rendering (in story book form) of Wicked (1995) which sought to understand/give context to two of the most notorious "wicked" witches of Western / European folk tales.


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Ai Weiwei: The Fake Case [2014]

MPAA (R)  ChicagoTribune (3 1/2 Stars)  RE.com (3 Stars)  AVClub (B)  Fr. Dennis (3 Stars)

IMDb listing
ChicagoTribune (S. Linden) review
RE.com (C. Lemire) review
AVClub (D. Ehrlich) review

About Chinese avant garde artist Ai Weiwei:
         Wikipedia article
         NY Times coverage
         Amnesty International coverage

Ai Weiwei: The Fake Case [2014] (written and directed by Andreas Johnsen) is a documentary which continues to chronicle the struggle of Chinese avant garde artist Ai Weiwei [en.wikip] [ny times] [amnesty.org] with the Chinese Communist government.  The film is intended as a companion piece / sequel to Alison Klayman's documentary about him Ai Weiwei; Never Sorry [2012] reviewed here previously.

I have long believed that the Arts have an intrinsic prophetic _potential_ to them.  Obviously fawning propaganda pieces can also be made to support any "power that be."  However, the Arts can also expose and shame the same powers when they become too arrogant.  I'm also something of a child of the 1968 Prague Spring, my parents' childhood home, a city which dominated by two foreign imposed totalitarian dictatorships for the better part of their lifetimes now proudly celebrates Franz Kafka as one of its own. 

So while there is something of a "piggishness" to Ai Weiwei, a good part of me honestly "gets him," appreciates him and sympathizes with him.  And one gets the sense that famed Czech absurdist playwright, dissident leader during the Communist era, and Czechoslovakia and then the Czech Republic's first post-Communist President, Vaclav Havel, would have absolutely loved him.  For Ai Weiwei clearly uses his art to provocatively shame Chinese government for its arrogance and its negligence. 

For instance (this documented in the first film) after the devastating 2008 Sichuan earthquake which destroyed dozens of schools throughout central China, killing thousands of children (in a country with a rigid one child only population control policy...), after the government proved very much disinterested in compiling the names of the deceased, Ai Weiwei HIMSELF organized hundreds of volunteers to go through the towns and villages to compile the names of the deceased children.  With the least of names (which he displays in his office), he promises to build one day a Washington Vietnam War Memorial style "Wall of Names" in their honor as well.  Then for an exhibition of his art in Munich, he composed a banner along the side wall of the museum utilizing 7,000 children's backpacks declaring in Chinese "She had a happy life until she was seven." This kind of use of art, _contemporary art_, where "the medium" itself can become part of "the message" can not but bring tears to one's eyes.

The current film deals with the harassment of Ai Weiwei by the Chinese authorities.  Nominally, he was accused by China's authorities of "tax evasion."  Yet, he spent some 80 days IN SOLITARY CONFINEMENT (except for interrogations...) following his arrest prior to being released on bail (close to $1 million) with the case allowed to more or less expire one year later.  Could ANYONE imagine someone in the United States or in the European Union being held IN SOLITARY / INCOMMUNICADO for 80 days upon arrest for tax evasion?  (Now Vladimir Putin's Russia _did_ order a number of years ago a nationwide confiscation of the computers of opposition organizations and NGOs in a "crackdown" on "pirated software" ... and members of the Russian "punk collective" Pussy Riot [en.wikip] [NY Times] [Amnesty.org], of course, did spend time in jail for "hooliganism" following a "guerrilla art" performance of a "Punk Prayer" at Moscow's Russian Orthodox Cathedral of the Divine Savior asking, among other things, "Mary, Mother of God, drive Putin away." ;-)

The tax evasion case against Ai Weiwei dealt with his company called Fa-Ke, apparently meaning "Drawing and Development" in Chinese, but which carries several amusing meanings in English: transliterated, the company name comes to "Fake" (but what is Art but "faked reality" ;-), and pronounced, the company name sounds remarkably close to sounding like the F-word: "Fah K-eh" (Yes, I did mention that there is a "piggish" quality about him at times ...).

Anyway, Ai Weiwei did apparently eventually "pay up" what he owed (or what he "owed," it's hard honestly to tell...) the government, mostly apparently from donations of supporters (many of whom were local Chinese...).  And he did proceed to make a six scene, sculpture series, chronicling his time in prison, each scene encased in a cell, with viewers required to view the insides of the cell through a slit "just as guard would." 

It all continues to make for an interesting documentary series, and reminds one of both the power of art, as well as of the freedoms in the West that we often take for granted.


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Jews of Egypt [2013]

MPAA (UR would be PG-13)  Cairo 360 (3 ½ Stars)  Fr. Dennis (3 ½ Stars)

IMDb listing

Cairo360 review

The Independent (A. Beach) review

Brightlightsfilm.com (P. Keddie) intervieww. director 

Official website

Jews of Egypt[2013] (directed and cowritten by Amir Ramses along with Mostafa Youssef) is a remarkable documentary, made in Egypt, one which required several attempts at passage through Egypt’s censorship board before finally being released with strong public support in the heady days of the recent “Arab Spring,” when “all things seemed (briefly?) possible.” The film played recently at the 12th Chicago African Diaspora Film Festival held recently at Facets Multimedia in Chicago. 

The documentary tells the story of the (up-until the duel blows of the 1948 creationof the modern state of Israel and the 1956 Suez Crisis) once thriving and now virtually extinct Jewish community of Egypt.    

Being in the profession that I’m in – a Catholic priest – I’ve long wondered what happened to the Jewish community of Egypt.  After all, Alexandria, Egypt had been a center of both Jewish and Christian thought for centuries, approaching a millennium prior to the arrival of Islam.  By tradition, the Hebrew Scriptures were translated into Greek (into what has been called the Septuagint) in Alexandria.  The great Hellenistic Jewish philosopher Philo lived and taught – in Alexandria.  And during the first millennium of Christianity, Alexandria along with Antioch located in modern day Syria were the great centers of Christian theology (with both Rome and Byzantium/Constantinople, by differing means and for differing reasons, largely reduced to “playing referee” between them).  Over the years, I’ve had acquaintance with a number of CopticChristians, who still consider Alexandria, Egypt to be their “Vatican/Rome” and their Patriarch (of Alexandria) their Pope.  

It turns out that the fate of the Jewish Community of Egypt, at the turn of the 20th Century 80,000 trong, and the 20th century struggles of the Coptic Christians of Egypt are quite analogous.  For the documentary points out that for rather self-evident (if somewhat tragic) reasons both the Jewish and Coptic Christian communities of Egypt found themselves naturally aligned with the (Christian) colonial powers of England and France.  A number of the Egyptian born Jews, most now living in France, interviewed in the documentary noted that French was really their first language (“as it was with our Coptic neighbors” one interviewee notes) and that they learned Arabic “only to get by in the streets and markets of Alexandria and Cairo.”  So perhaps it became inevitable that when Egypt gained true independence from England following the “young officers coup” led by Gamal Nasser, et al, the position of both the Jewish and Christian communities in Egypt had to diminish.  They had been aligned (or were perceived by Egypt's Muslim majority as aligned) with the previous colonial powers, hence...  However, the situation of Egypt's Jewish community became even more precarious than that of Egypt's (Coptic) Christian community with the creation of the modern state of Israel and then 1956 War in which Israel even sided with the former colonial powers of England and France against Egypt.
Ironically, of course, the vast majority of Egypt's Jewish community didn't emigrate to Israel after being pressured to leave (and at least in part, expelled from) Egypt.  Instead, the vast majority emigrated to England and France.  As one of the Egyptian born Jews interviewed in the documentary pointed out: "Back then Israel was seen as the place that _poor Jews_ emigrated to.  Those with means when elsewhere."  Egypt's Jewish community had been a community with means.  And it was a community that _liked_ Egypt.  Indeed, striking in the documentary was the repeated refrain of the various Jewish interviewees (and their children) that their years living in Egypt, prior to being forced/pressured to leave, were among the happiest years of their lives.

The film runs squarely against decades of Arab world propaganda equating "Jew" with "Enemy" or even "Jew" with Israel.

It all makes for a fascinating story, and makes for an interesting question.  Would a Middle East settlement tackling the question of "Right of Return" / compensation of Palestinian refugees and their descendents displaced in the creation of the modern state of Israel ALSO offer, at minimum, compensation (and perhaps even a similar "Right of Return") to Jewish families _throughout the Middle East_, who since the creation of Israel have had to abandon their property, businesses and communities as well?  This documentary was about the Jewish community that resided in Egypt prior to the creation of the modern state of Israel.  However, there were vibrant Jewish communities all across the Middle East / Arab world, including sizable communities that once existed in Iraq (Baghdad) and Syria (Damascus) as well ...


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Obvious Child [2014] / Think Like a Man Too [2014]

As part of my contribution in our parish's participation in the Archdiocese of Chicago's Campaign "To Teach Who Christ Is," I've decided to forgo seeing (and therefore reviewing here) one or two movies a weekend and instead contribute the money I would have spent to the campaign.

I'm trying to be strategic about this, picking movies that would "hurt somewhat" to miss, that is, films that are not "so bad" that I wouldn't see them anyway nor movies that I really would need to see/review or else my blogging effort would cease to be worthwhile.

As per my custom, I will try to provide links to usual line-up of reviews that I also consider as I write my own.

This week I chose to not see:

Obvious Child [2014] - MPAA (R)  CNS/USCCB (O)  ChicagoTribune (3 1/2 Stars)  RE.com (3 1/2  Stars)  AVClub (B)

Think Like a Man Too [2014] - MPAA (R)  CNS/USCCB (O)  ChicagoTribune (2 Stars)  RE.com (1 1/2 Stars)  AVClub (D+)

To be honest, both were kinda no brainers.

Obvious Child [2014] is a "comedy" about a young woman deciding to have an abortion, basically a "pro-abortion rights" response to the far more positive (and more pro-Life) films like Juno [2007] and Knocked Up [2007] where young women, finding themselves pregnant nonetheless decided to give their children a chance at life.  Obvious Child [2014] is a film about a woman, who, finding herself unexpectedly pregnant, decides to tear her developing child up and (in pieces) out, as she goes on with her own (apparently "more important") developing life.  Ha ha ...

Think Like a Man Too [2014], sequel to Think Like a Man [2012], continues to invite women to act as stupidly as (some) men (sometimes) do.  Bridesmaids [2012] falls into this genre as well.  Borrowing terminology from my seminary days, these films assume an "anthropology" that is fundamentally "disordered."  Are men really like those portrayed in the Hangover [2009, 2011, 2013] series?  Of course not.  But the very basis of Think Like a Man (and other "women's oriented" stories like it) is that this is the way "men" "are" / should be.  Again, ha ha ... but behind the laughs is a really depressing assumption and certainly not a Catholic / Christian one.

Jersey Boys [2014]

MPAA (R)  CNS/USCCB (A-III)  ChicagoTribune (2 1/2 Stars)  RE.com (2 Stars)  AVClub (C+)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. McCarthy) review
ChicagoTribune (M. Phillips) review
RE.com (O. Henderson) review
AVClub (I. Vishnevetsky) review

Jersey Boys [2014] (directed by Clint Eastwood, screenplay by Marshall Brickman and Rick Elise based on their previous stage musical / book) is a film that will probably disappoint stage-musical goers, whose opinions in this matter, to be honest, I don't care tremendously about here, as stage musical productions are generally ridiculously expensive (and hence out of reach of those who are not either very rich, or very interested).  More interstingly to me, however, is the possibility that the film will also disappoint many New Jerseyans as the single most devastating charge that I read about the film comes from the CNS/USCCB reviewer J. McCarthy who noted that almost none of the movie was filmed in New Jersey but rather at the Warner Brothers Studio Lot in Los Angeles.

It seems clear to me that director Clint Eastwood intended to make this film _honestly_ (Ignatiy Vishnevetsky of the AVClub noted that at the beginning of the story _three of the four of the members_ of the future Four Seasons made more money doing petty jobs for the local mob than with their singing.  And later, even after they achieved their success -- and even had the local mobsters _rooting for them_ -- they were never really able to break out of that past).  So it would seem to me that the better move would have been for Eastwood to have stepped back, if on account of his age his health was not up to filming the movie in New Jersey, take a more back-seat role as co-producer or co-executive producer, and find a "Jersey Boy" (Rogerebert.com's Olie Henderson suggested Jersey born Brian De Palma) to make the film.

That said, the film could actually have cross-cultural appeal and even be inspiring to young people growing-up in poorer/working class, often similarly mobbed-up, neighborhoods across the world -- from Moscow/Omsk/Kiev, to Bogota/Rio de Janeiro, to Bangkok/Manila.  

So what's the film about?  It's about the story of the above mentioned Four Seasons pop-group that attained tremendous popularity in the United States in the years immediately preceding the arrival of The Beatles and the rest of the British Invasion of the mid-1960s.  Three of the four members of the Four Seasons -- Frankie Valli [IMDb] (played in the film by John Lloyd Young), Tommy deVito [IMDb] (played by Vincent Piazza) and Nick Massi [IMDb] (played in the film by Michael Lomenda) -- grew-up in Belleville, New Jersey just outside of Newark, NJ.  Playing in a band calling themselves The Four Lovers, the fourth band member being Tommy's brother Nick DeVito (played by Johnny Cannizarro), they spent a number of years spinning their wheels, with them finding themselves often in trouble with the law (and the DeVito brothers, one or the other, in jail) for doing various small jobs often for the local mob, headed by (in the film) a Gyp DeCarlo (played by Christopher Walken), possibly the most sympathetic "family guy" mobster ever portrayed in American film (but "hey, in Jersey, if one stuck together with one's friends, the ones who 'looked after the neighborhood' EVERYONE was 'family'." That was basically The Code...)

Frankie, Tommy and Nick's break came, when one of them working in a bowling alley, ran into a young Joe Pesci (played in the film by Joseph Russo), yes THE FUTURE ACTOR Joe Pesci [IMDb] working (in the back, setting up the pins) in the same said bowling alley who also "worked" as a part-time talent scout.  It was _this_ "Joey" who put the Three/Four Lovers together with the fourth member of the future Four Seasons, keyboardist and songwriter Bob Gaudio [IMDb] (played in the film by Erich Bergen). 

Hearing Frankie Valli's striking falsetto voice for the first-time, Bob became convinced that this was the guy he needed to write songs for.  Bob also came with some connections in New York, notably a quite-openly-gay record producer named Bob Crewe (played by Mike Doyle).  After some lingering struggles with the group's name (the "Four Lovers" weren't going _anywhere_), they finally and quite amusingly changed it to The Four Seasons after the bowling alley where "it all kinda came together" (However, film's dialogue notes that the name ALSO actually evokes Vivaldi's Four Seasons, which makes some sense as well, as all four, even if "from Jersey," were also of ITALIAN descent and arguably even Frankie "Valli's" name itself evoked Vivaldi...).  Then they got their big hit Sherry followed by Big Girls Don't Cry, Walk Like a Man, etc.

However, even as their fame skyrocketed as they played gigs like American Bandstand and even the Ed Sullivan Show, they couldn't escape and then largely choose not to abandon their past.  Tommy gets into trouble with debts to loan sharks, Frankie out of loyalty to his friend decides to help him.  At this point, Nick Massi, "breaking the 4th wall of the theater" explains to the audience (To US the viewers) "If you don't understand why Frankie would do this, well, YOU DON'T UNDERSTAND JERSEY."

The rest of the story is something of a spiral downward.  Not only is Tommy in trouble, but Frankie finds himself with serious family issues at home (largely of his own doing -- he's never at home and he takes on the added burden of a mistress...).  The other two, Nick and Bob, for different reasons find themselves tired of the band.

But before it all collapses, Bob and Frankie do collaborate on one last, now almost haunting hit: Can't Take My Eyes off of You.

It's really quite a good, bittersweet, and even (above mentioned) haunting story about friends, family, neighborhood and precariousness of "fame."

Again, perhaps it would have been better if the movie had been filmed in New Jersey, but overall, it honestly remains a pretty good job!


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