Music Graffiti

THAT THING YOU DO

Unless you were there. Unless you were of that age, that time and particularly if you were a male and trying to force your grimy little fingers into a "C" chord on a Harmony acoustic guitar that was semi in tune…well, you will not understand the depth that this movie has. This movie and "I Wanna Hold Your Hand" capture something that was so real, so tangible but has slipped so completely away from any succeeding generations grasp that to try and film it's time and moment seems impossible. And yet, Tom Hanks did it. I don't know how he managed to grasp the era and the people so well as I thought he was a little too young for that time period. He nails this every boy's fantasy with wit, wisdom and just a touch of sadness. The cast turns in, a spot on encapsulation of people that will be very familiar to any struggling band member from the period. Tom Hanks himself turns in a solid performance as a man apart of, yet removed from the music itself. Men of his age at that time all actually read the Playboy philosophy espoused by Hugh Hefner and secretly wanted to be as cool as one of the Rat Pack. He did a super job of directing this effort and keeping the frenetic pace. All of this brings us to the music, which for the most part is expertly crafted (and I was surprised to see Hanks wrote some of the music also) to remind us of the era. I enjoyed all the songs for what they are. It is "homage" which is not exactly copying but using the elements to pay tribute to the influences that shaped the music of that era. People who grew up in the 80's or 90's have no conception of what the music was like then. They can hear it, and yes even appreciate it, but they don't understand that it was rarely on TV, it was not the background music for every commercial you heard or saw and radio stations that played it were decidedly looked down upon. It was not woven into the fabric of life like it is now. It was new, it was dangerous and you had to search it out. You had to want it. That's why I so enjoyed this movie. Even with some of it's false steps and it's occasional heavy handedness that would over power the subtleties of real life I found this movie a guilty pleasure that is completely satisfying and an absolute joy to watch.

We've sorta been down this road before: 1960s pop band makes it out of their dead-end hometown for Hollywood, but fame and fortune unravel the fun. Still, this picture has remarkable focus, careful period detail, and a lovely cast that rarely (if ever) strikes a false note. If some of the young actors sometimes seem like they're doing Tom Hanks impersonations, that's okay because director Hanks (himself a co-star) seems to know these characters inside and out--and he likes them. We in the audience are quick to respond, and even the conventional parts of the movie work because Hanks rides over clichés with verve and enthusiasm and wit. Not a raucous comedy a la "I Wanna Hold Your Hand" (which is what it looked like to me in the ads), this has its share of subtle moments. There is a mean-spirited dig at the Frankie & Annette "Beach Party" flicks, and the ready-made romance at the end is sugar-coated, but "That Thing You Do!" is immensely likable. It has a huge heart. *** from ****

Catching the excitement of a mid-1960s garage band formed by 4 typical all-American young men from Erie, PA, who atypically make it to the "big time" with a hit record.

Hanks succeeds on all levels as Director, Screenwriter, Actor, and Producer, resulting in the official formation of "Playtone" two years later (named after the fictional record label portrayed in the film), that continues to make him some serious "scratch".

'That Thing You Do' is a contagiously likable and fun film to watch, and for baby-boomers a must-see.

👍👍

Tom Hanks wrote and directed this paean to the glory days of rock n' roll, an era in which even the wildest music still reflected a certain innocence, long since gone if not forgotten, before the advent of Metal, Rap and Grunge. It's 1964, and `That Thing You Do!' is about to become a hit record for a small band out of Erie, Pa., who call themselves the `Oneders (pronounced Wonders),' but who are destined to begin their musical odyssey know as the `Oh-NEED-ers.' Drummer Guy Patterson (Tom Everett Scott) works in his father's appliance store, but when the band's drummer breaks his arm right before a gig, Guy is asked to sit in for him. And it winds up being a case of being in the right place at the right time for Guy, like when Ringo joined The Beatles, and the rest-- as they say-- is history.

It's a lively, upbeat tale in which luck, talent and chance all play a part. Hanks presents the upside of making it in the music business, including the adrenaline rush of hearing one's own song on the radio for the first time, as well as all the hoopla that surrounds those who happen to be in the spotlight at the moment. But he also shows the downside: The creative differences and in-fighting which plagues just about any band ever formed to some degree at one time or another, the personality conflicts and petty jealousies that are apt to surface at any time, and the reality of dealing with bloated egos, adoring fans and rude, insensitive record label executives who could care less about the talent that is putting the coins in their coffers, as long as they're selling records.

For the most part, Hanks keeps it lighthearted and cheerful, which-- along with the original songs (some of which he helped write)-- makes this an entertaining, fun and thoroughly enjoyable movie. He sugar-coats the dark side of it all to a certain extent, which makes the bad things that happen a bit easier to swallow, though it compromises the impact of the events somewhat as they unfold. Then again, he manages to maintain the credibility and integrity of his story, and after all, `this' is the film he wanted to make, and he presents it exactly as intended. Hanks captures a sense of time and place with this film, and also that same sense of reality conveyed by The Beatles' film, `A Hard Day's Night,' intentionally avoiding the more stoic reality of the more recent `Almost Famous.' All three films are fairly true to life, but with varying degrees of honesty. It's a matter of whether to `imply,' as Hanks has done, or to be explicit, as Cameron Crowe chose to do with his film.

With this film Hanks proves that he is equally as adept behind the camera as he is in front of it; he knows exactly where he wants to take his audience and when, and he does it quite successfully. He also extracts some nice performances from his actors, especially Scott, Johnathon Schaech (Jimmy, the lead singer), Steve Zahn (Lenny, on guitar) and Liv Tyler as Faye Dolan, Jimmy's girlfriend, who takes the brunt of the blunt edge of Jimmy's sudden notoriety. Hanks also turns in a notable performance himself, as Mr. White, the representative of one of the labels interested in the Oneders.

The supporting cast includes Ethan Embry (The Bass Player), Charlize Theron (Tina), Obba Babatunde (Lamarr), Giovanni Ribisi (Chad), Chris Ellis (Phil), Alex Rocco (Sol), Bill Cobbs (Del Paxton), Peter Scolari (Tony), Rita Wilson (Marguerite), Chris Isaak (Uncle Bob) and Kevin Pollak (Boss Koss). What `Happy Days' was to television, `That Thing You Do!' is to movies; a film that evokes that perceived sense of innocence of a time when life at least seemed simpler. For the more distance you put between the present and the `Good old days,' the better they get. In reality, they may not have been better, but Hanks preserves that illusion by giving us a picture of the way we'd at least like to think things were. And it's more than a pleasant diversion; this is a feel-good film you'll be able to enjoy time and again, because it takes you to a place you'd like to be-- a place you've been to before at one time or another, in one way or another, if only in your mind. And that Hanks can take you there so readily is not only a credit to his talent, but another fine example of the pure magic of the movies. I rate this one 9/10.

I didn't see That Thing You Do (TTYD) when it came out, and it's too bad. This movie will--strange to think--rank up there with "Stop Making Sense" as a classic concert film. Interesting that 1) they're not really comparable, since SMS is real concert footage and TTYD is a mockumentary, and 2) Jonathon Demme is in TTYD!

Is this a timeless movie? Close. Darn close. What's great? Actually--almost enlightening--Hanks' writing is really quite wonderful. The dialog is almost a rare example of direct, effective, "connecting" film writing. The casting, directing, and acting is great. The editing is very effective. The sets, costumes, general "look" is a delight. The music is very, very effective. So much subtle craftsmanship goes into stuff at the right levels of detail, that you might accuse the film of failing to be like a genuine "rock 'n' roll experience" because it's almost too crafty. But I think they pull it off.

What's wrong with the movie? Not much. The ending flags a little. The pre-credits posting of thumbnail future bios of the characters is a cheap device; but again I think it doesn't eclipse the power of the mythic payload (the moral) which ultimately has to do with the power of love. And I don't say that in a wishy-washy sense. What is love? According to this movie, it's that multi-dimensional experience which includes not just finding "that special someone," but also finding your path. It reminds me of an exchange I had with a work buddy who hoped to write "that big hit tune" and retire early. I loaned him a record by Fred Frith, which put him off entirely. "This guy won't ever get anywhere," he said. But I patiently explained that he (my friend) and I get up in the morning and go to our corporate jobs. This guy (Frith) gets up and goes to the studio. Who's the success? That's a big life lesson, and I think this movie nuances that very effectively. It can even translate to any of life's pursuits, not just music.

I found myself being continuously delighted by this film. At the risk of sounding like a green ass, I want to plug this film's attention to a time-honored aesthetic virtue: Hard work. This film is a labor of love, with equal attention to the inspiration AND perspiration.

I can't believe how much I like this movie! I feel like a bobbysoxer saying it! I resonated with this movie on many points. Let me give you one example. I was in a little band once and was something of the "muse" of that band. Something I always marveled at was how "the creative process" people talk about is actually a very simple and practical reality when you're actually being creative. One of the sweet, simple high points of working up a number is the act of picking the tempo. If you've ever done this, you know what I'm talking about. Picking the tempo is a profoundly rewarding act, and of course that's just one small aspect of the process. So the scene near the beginning of the flick where the drummer overrules Jimmy and establishes an uptempo beat to what was supposed to be a ballad is a profoundly resonant moment for me. And the direction and editing bring together an almost perfect picture of the very real and profound joy that this brings to people.

There were many, many moments in this movie that affected me in much the same way. If you haven't seen it and you love "concert films," check it out.

(NOTE: I wrote a little "trip guide" to TTYD!, which can be found at: http://www.ronazajac.com/That_Thing_You_Do_Comments.pdf . Hope you find it useful. -raz)