Borrowing From What Is Being Borrowed (read on)

Rating: 10/10 (12 July 2014)

HAVING BEEN A JUNIOR in High School when SHERRY debuted in the Autumn of 1962 and having seen both JERSEY BOYS as well as seeing a recent concert by Frankie Valli, one would think that we'd know everything that was coming in this picture. Wrong, we did not.
PRODUCER AND DIRECTOR, Mr. Clint Eastwood, took the successful Stage Play and had it adapted into something which was at once the same, yet very different. Using the medium of film to expand the 'stage' on which the story is presented, enabled the development of the story to take a more realistic course than the stage musical could possibly have done.
THE STORY IS framed with anecdotal stories from the "old neighborhood"; revealing the boys to have been involved with a lot of illegal; activity and indeed, were familiar with organized crime figures. The latter was represented by the character of Gyp De Carlo (Christopher Walken).
THE BOYS OWN brushes with the law are represented by a botched burglary; which young Frankie (John Lloyd Young) manages to get cut loose from due to in Court testimony of his mentor, Tommy De Vito (Vincent Piazza). Tommy De Vito does do time for the crime and we learn that jail seems to be a way of life here.
THE SCENARIO HAS plenty of domestic situations, backstage show biz stuff, outstanding drama and relevant humor. The direction that the story takes always moves the action along; without ever lapsing into any superfluous or irrelevant scenes or situations.
ALTHOUGH THAT WE have a prime example of the filming of a legitimate stage play and the dramatic license involved; as well as the application of movie techniques, the production team did not stop there.
IN A SORT OF reversal of the filming process and use of camera techniques, the screenplay opted to, in turn borrow stage methods in providing both narrative and exposition. For example, the characters turn and directly address us, through talking to the camera's eye.
THE MOVIE DOES diverge from the norm on several other points. First, there are no opening credits. All cast members, film crew, producer/director personnel and technicians receive their billing at movies conclusion.
AND, MUCH IN the manner of the Broadway Stage's having the players in the cast to take a bow and receive their appreciation from the audience, the cast is brought out once more for our approval. This is accomplished with a ensemble production number, with all doing a dance to Four Seasons' standards.
THESE TECHNIQUES REMIND us very much of those employed by that 24 year old, boy genius, Orson Wells, used in his CITIZEN KANE (RKO, 1941). We suppose that this makes Mr. Eastwood the preeminent Director in the business.
WITH THIS NOTION we do heartily concur. If you haven't yet seen it, do so soon. Tell 'em we sent you.