Runaways

Biographies have always been a great source of material for films. Even if there is only a slight dollop of reality contained in the story audiences appear to react favorably towards and movie claiming ‘based and true events’. Realistically, you would be better served to read the book or books used as the source material for the film but if you go into it with the expectation of entertainment over elucidation than a bio-pic can be as lot of fun. This seems to hold especially true for biographically inclined films based on the lives of popular musicians. There is nothing new about this trend. In the forties several hit films were about big band leaders or the crooner at the top of the charts. Even in recent years biographies of Ray Charles and Johnny Cash not only drew in the audiences but took home a considerable number of awards to boot. One very special portion of this genre concerns the music of my generation; rock and roll. A rock oriented bio-pic affords the film maker ample opportunity to include every facet required for great entertainment; energy, hard driving music and of course the often lethal combination of sex and drugs. One of the latest films to take on this very specific genre is ‘The Runaways’, a glimpse at the rapid rise and ultimate self destruction of one of the first and still most famous female rock band; ‘Joan Jett and the Runaways’. A parental warning is in order at this point. Parents will recognize several of the actresses in this movie and associate them with movies considered suitable for the tweens in your family. Do not go by the cast here; this is not a film intended for children and is rated ‘R’ for very good reasons. For those of us that remembers this pivotal era in rock and roll. Even if you are not in this demographic you will still be highly entertained by synergetic performances and some stellar performances.

The direction and screenplay was executed by a newcomer in both arenas of endeavor Floria Sigismondi. While her prior experience was not in feature films she has directed numerous music video collections including one for s more recent female rocker; Sheryl Crow also working with the likes of Bjork and David Bowie. The basis of the main story is the autobiographical work by one of the primary members of the band Cherie Currie, ‘Neon Angel: A Memoir of a Runaway’. Ironically for one of the pioneers of hard punk rock her last listed credits were a multi-episode arc on the king of the retirement home ‘Matlock’. Fortunately the time period covered here was set during Ms Currie’s more salacious period. The film symbolically sets the stage with a common enough occurrence although one that can pale a strong man; a drop of menstrual blood. The universal sign of a young girl becoming a woman here takes on a different meaning here. In this context it represents the feminization of rock and roll. Even in that the Runaways altered the view of femininity from the old fashion sugar and spice to demonstrate to the world that young women can rock as hard as any man. Unfortunately the affectations of the rock and roll lifestyle would exert the same deleterious effects one these women as they often did with the guys. The film focuses primarily on Currie remarkably played by Dakota Fanning and her ‘Twilight Saga’ co star Kristen Stewart as their front woman Joan Jett. Rounding out the group but relegated to the background are lead guitarist Lita Ford (Scout Taylor-Compton), drummer Sandy West (Stella Maeve) and bassist Jackie Fox who for some unexplained reason is called Robin (Alia Shawkat) in this movie. Although titled ‘The Runaways’ this is actually about the influence of Jett and Currie on the mid seventies’ music scene.

Kim Fowley (Michael Shannon) was just looking for someone with enough talent and a unique hook that he can parley into the big personal score. The movie shows hoe he thought he had a kitten by the tail with 15 year old Currie (Fanning’s age during the filming) but Cherry and Joan soon proved to be a pair of unstoppable tigresses.

The purpose of the film is not to provide a historically accurate look at these young women but rather to present a feel for the time; transmitting the energy not necessarily the facts. To that goal the film certain succeeds. Watching a heavily made up, corseted Fanning belting out a powerhouse rendition of Cherry Pie is disconcerting at first. After all we all watched her grow up in films we loved. This was the child who gave interviews on TV with her front teeth missing. Back in 1975 when Currie took the stage with the same look it had a similar affect. It was an end of innocence as women took center stage in the previously male only world of heavy rock. All child stars have to face the transition to mature roles. Fanning and Stewart hit the ground running here. The casting is perfect for a story about a manipulative man trying to launch ‘jail-bait’ rock only to discover these young women not only had the talent to make it without him but the drive to make him superfluous. What was created as a novelty act became a sensation altering the course or rock paving the way for the women who would follow. The direction avoids the feel of an overly extended music video capturing the essence of the lead characters. It does not present much in the way of details but makes up for this with a drive of its own. The movie is excellent for showcasing the enhanced audio of high def giving a pulsating sound stage accompanying a robust color palette.

Posted 06/15/2010