‘The Runaways’ suffers from poor direction

 

Editor’s note: Peter Lewis has agreed to use whatever it is you call his writing style to provide some measure of analysis to those folks who still go to a theater to see a movie. Enjoy.

review by Peter Lewis

This past weekend saw the release of a new film about “The Runaways,” an all girls rock band from the latter half of the 1970s. The band, formed by Joan Jett and Sandy West, was part sex and part empowerment rock dream. With Cherie Curry on lead vocals, the band had a string of hits and gained international fame. Despite the success, the band was unable to withstand the pressures of the business and they dissolved after a few years.

Starring Dakota Fanning (I Am Sam, Man on Fire) and Kristen Stewart (Twilight) as Cherie and Joan, respectively, the film attempts to synthesize the events of The Runaways into a coherent story. While the success of films like Walk the Line or Ray may seemingly prove otherwise, crafting a quality movie out of the life of a musical act or artist is a rather difficult task to undertake. Plainly speaking, there is just too much life to convey in the short span most modern film companies allow.

“The Runaways” was episodic and incomplete, a fate that must be attributed to the director, Floria Sigismondi. Numerous times during the screening one couldn’t help but feeling as if one were watching a music video instead of a feature film. Unfamiliar with the director prior to the screening, it was no small wonder to find that her directing career largely consisted of music videos. While she has found quite a bit of success in this realm, the skills required to be a feature length director have yet to materialize. There was no connection with the material. All too often she seemed content to rely on certain kitschy camera tricks to convey moods.

Further, the film came off feeling trite, despite the revolutionary nature of the original story. It was a rather tired rehashing of the same music related bio we’ve all seen before. Young people are suffering under oppressive or oblivious parents, they find each other/music. This new outlet allows a blossoming and they begin to truly feel connected to their life. They feel their new found wings and soar off. Enter conflict as protagonists reach their nadir. Cue shot of lonely and suffering actor to illustrate the dark and somber days.  New understanding is reached as protagonists find peace with the world in their own way.

Though it is indeed (potentially) unfair to fault Sigismondi alone for the shortcomings of the film, as director the general guidance of the film rests on her shoulders and thus has to also carry the weight of blame in this instance.

One of the more intriguing aspects of the film was the appearance of both Stewart and Fanning. The prior, thanks to her appearance as Bella in the Twilight Saga, has become a heroine to many females (and, one would expect, is thus likely to draw in somewhat significant crowds to see The Runaways), while the latter is best known for her pre-pubescent roles. Even if the producers tried harder, it would seem impossible to procure a more incongruous pair to play the leads.

Which perhaps was the point.

While it was strange to see an actress (Fanning) so associated with innocence playing a despondent and drug addled rock singer, the performance was fairly believable. Further, the casting choice of Stewart was quite adept. Her furrowed eyebrows gave a sort of brooding intensity to Jett’s character. Together on screen they had a kinetic relationship (To the frustration of many male viewers, that connection only came to physical fruition in one kissing scene. Instead, Sigismondi opted to illustrate the relationship more subtly, featuring heavy glances with some regularity).

While it functions as a sort of biography, at its core “The Runaways” is a film of rebellion.  Though there are undercurrents of emptiness and emotional longing, the possibilities of the material are not truly realized in any way, shape or form. Upon leaving the theater, it isn’t exactly easy to dislike the movie, but nor is it particularly likable. If ever a film could be labeled as lukewarm, it is “The Runaways.”

• The Runaways is not now playing in the area.

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