The Runaways
2010
109 minutes
Rated R
by Scott Mendelson
The Runaways tells a story so old that director/writer Floria Sigismondi barely sees fit to tell it at all. The film, purporting to chronicle the quick rise and fall of the first popular American all-girl rock band, has little to say and little to justify its existence. Knowing next to nothing about the real history being presented, I couldn't tell whether I was seeing a cliff notes version or a relatively small story stretched out to feature length. Nothing much happens in The Runaways. Take out the classic rock biopic journey and all you're left with is a few decent musical numbers and a whole lot of confused sexual politics.
In brief, the film concerns the formation of the titular band, as Kim Fowley finds five rock-ready young girls in the trailer park portion of Hollwood, California in 1975. The picture immediately focuses on just the two lead members of the band, lead vocalist Cherie Currie (Dakota Fanning) and guitarist Joan Jett (Kristen Stewart). If you've seen any up-from nothing rock biopic, you know what happens next. The band overcomes early resistance and overt sexism to achieve moderate success, but eventually falls apart due to conflicts and a greedy manager who puts his own pocket book above the mental health of his performers.
The picture doesn't even pretend that the story hasn't been told a thousand times, and even openly spoofed at least once (Walk Hard). But Floria Sigismondi seems to either not care or think that the fact that this version is about teenage girls makes it unique. It doesn't, as Satisfaction covered much of the same territory without the navel gazing. The picture contains no sense of time or societal impact, so we never know why what we're seeing matters in the grand scheme. Oddly enough for a film that's at least partially about girl-powered rock n' roll, Michael Shannon steals the film with a showboating performance that doubles as an audition reel to replace Health Ledger as the Joker in Shadow of the Bat. Yes, Fowley is a greedy hustler intent on using his girls' jail-bait sexuality to sell records and concerts, but the movie never really acknowledges that he basically plucked these kids out from obscurity and gave them a chance at fortune and glory.
Everyone save for Fanning and Stewart are pushed well into the background, including the other three members of the band. Dakota Fanning does what she can with a walking cliche, but her Cherie Currie suffers from a confused script that can't decide if she blew her chance because she fell into drugs or she fell into drugs because she never wanted the rock star life and/or felt guilty about abandoning her family for the road (Currie certainly doesn't seem to enjoy performing). Kristen Stewart gets the showier role, but in the end Jett is presented as merely a more confident and enthusiastic rock star who eventually succeeded through sheer force of will. We don't get even an ounce of character development for the rest of the band (Stella Maeve, Alia Shawkat, and Scout Taylor-Compton), which leads us wondering how they feel when their dreams are dashed due to Currie's personal demons.
Without much of a story to tell and too little music to perform, the film basically relies on sexual titillation to draw in audiences. There is a certain discomforting amusement at watching Fanning play a scantily-clad punk rocker in an R-rated picture (for the record, this is a VERY soft R), and the rest of the (age-appropriate) band isn't exactly hard on the eyes, but the film is overly confused about its own sexuality. On one hand, the picture seems to condemn the commercialization of Fowley's quasi-jail-bait rockers (Currie was actually 15 at the time), on the other hand the film seems to want to celebrate these young girls taking control of their own 'gifts' and using them for their own artistic purposes. Considering that Currie wasn't much of a singer (and we don't get to see what talents the other three possessed), all the band seemed to offer, according to the film, was the teasing of teen sexuality and Joan Jett's genuine acoustic skills.
In the end, The Runaways dresses up a groundbreaking female rock band in the most generic biopic imaginable. Without a real look into their talent and their personalities, we're left basically with the assumption that the Runaways was successful because they were awfully cute. If there is more to it than that (and I presume there is), then the film actually is a disservice to the history being told. The game cast treads water against a script that shoves everyone but Fanning's Currie into the background yet even shortchanges the lead in terms of honest character development. For what it's worth, the movie makes me want to learn, as this can't be all that there was. As a rock band, The Runaways were the first of their kind and paved the way for the acceptance of women rocking and/or rolling. As a movie, The Runaways would get booed off the stage.
Grade: C-
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There's so many factors, not the least being that TWO of the members went onto highly successful solo careers. Considering they are WOMEN and guitarists, that alone commands/demands attention. Another continued her a film-making career. Another became an attorney. Not bad, eh?
The Runaways were forerunners for other women in bands. Yadda yadda, there were all-women bands before them. BUT NONE LIKE THEM. They rocked hard. They lived the life they sang. Joan WAS part of the LA punk scene. They certainly influenced and in no small way inspired the Go-Go's.
We all hung out together. It's hard to express what it's like standing next to someone one day, the next they are on stage. Or seeing them onstage and then just goofing around with them. We were all part of a cultural revolution. The RUNAWAYS were integral to that.
Some say they didn't make lasting music. They gave it their best, and let's applaud them. They entertained us. High energy, often surpassing male bands for entertainment. Really special moments in time. I look at my live shots, backstage, parties. I listen as my friends recount stories, either online or in person. The answers are obvious. Guess you had to be there . . .
It was fine that Joan supported the punk community, but that scene happened whether she was there or not and Joan was, by then, so on the way to becoming another rock casualty that it almost didn't matter because her credibility wasn't very good at that juncture. It is ironic, perhaps, that she outlived people such as Jeffrey Lee Pierce, Darby Crash and even Brendan Mullen and has out-iconed (now there's an ungainly word) Darby and someone like Exene Cervenka.
Redd Kross used to to "Dead End Justice" as equal parts tribute and send up. It's nice to pay homage to the Runaways, but let's not go overboard.
Treading carefully here, but laughing. WHO are you calling an "armchair historian"? Those of us who actually lived through this, saw, danced, photographed and hung out with the people on the screen? Those who celebrate what the Runaways did, together and separately?
We KNOW why the RUNAWAYS mattered THEN and NOW. Who are YOU to debate us? We know there's so many amazing inspiring, fun times and people who are left on the side of the road. Does that makes us our voices less valid than those who have NO idea what was left out? Or worse, those whose lack of curiosity shuts their mind to the possibility there's more to this story are telling US to shut up (in so many words)?
If you want great visceral experience, that's the movies. You want history, or herstory? Read the books. Go online. Find the photos and footage.
I don't agree with that, but that's life and that's the way the movie makers have decided to tell stories. Sometimes content and context are overlooked. Keep things moving fast, look good, music to keep our adrenaline going. One CAN turn a sow's ear into a silk purse, to those who either DO NOT KNOW or DO NOT CARE TO KNOW. Hmm, "What We Do Is Secret" (the Germs) and "Punk Attitude" come to mind.
Should films based on "true facts" actually show characters in CONTEXT? Gee, wonder what kind of film that would be . . . . you'd have last days of glitter/glam evolving into punk, with the Runaways somewhere in-between. Plus just plain ol' rock n roll, some metal, some theater -- the REAL stuff we listened to and saw, back in the 70's. When ALL kinds of music was on the radio, to influence the bands. When going out most every night was our lifestyle. Getting in free or $3.
Do they have Joan's involvement and friendship with punk bands like the Ramones, Dictators and later hanging with Johnny Rotten, Billy Idol and others, who were NOT big in the USA yet? Joan hanging out with LA punks. July 8, 1977, Lita and Joan at a Weirdos/Zeros punk show produced by Slash mag (NOT the record co), hanging out with Rodney. May 77, the Whisky, Cherie onstage w/her pals, the Tubes (with Kenny Ortega, Fee Waybill and LeRoi Jones). Gotta have Joan hanging with the Germs, 77 and later. Santa Monica 1977 beach party, a few punks hanging out during a sunny day. Joan being hassled by guys who probably had wet dreams about her and her bandmates, but ONLY while onstage. Wonderful backstage shots of the Runaways and Cheap Trick, April 1, 1977) Context with LA punk clothes, not of England nor NY. Very much a LA story. Those are not only my memories, but my photos.
Gotta put KIM FOWLEY front row and center. Loud, abrasive, OBNOXIOUS, rude, lewd, trying to take control and power, however and whenever he could.
History is made by survivors. The most motivated to put their story out there. I always say punk is like the 6 blind men and the elephant: we all have our POV. Relying on historical photos helps. I too am curious, and reading bios of artists, musicians, film-makers and their culture is a passion of mine.
Most peeps just want their thrills, give 'em a movie with fast-moving visuals and loud music w/a good beat, and they're happy. Don't make them think too much, please!
I'm happy for Cherie and Joan. I wish them and everyone involved the very best! But . . . there were other band members. They deserve their place in the sun or limelight. Again.
Bottom line: ALL the women involved in the band were inspiring and influential, in one way or another. I always think that's a testimonial of value. IF not shared, parts of our legacy, our lives are lost. It's not about being immortal. It's about inspiring others. LA punk and punk changed face of our culture.
People don't think of the Runaways as punk per se. Were a vital component during a fecund creative period in LA. When creating art and music was something so many of us did, together. We lived lives you can't replicate as easily today, due to the economic situation.
No matter what, you gotta put KIM FOWLEY right up there, front row and center. Whether you like him or not, that's where he was. Loud, abrasive, OBNOXIOUS, rude, lewd, trying to take control and power, however and whenever he could.
History is made by survivors. The most motivated to put their story out there. I always say punk is like the 6 blind men and the elephant: we all have our POV. Relying on historical photos helps. But that's cos I'm visual. I too am curious, and reading bios of artists, musicians, film-makers and their culture is a passion of mine.
Most peeps just want their thrills, give 'em a movie with fast-moving visuals and loud music w/a good beat, and they're happy. Don't make them think too much, please!
I'm happy for Cherie and Joan. I wish them and everyone involved the very best! But . . . there were other band members. They deserve their place in the sun or limelight. Again.
Bottom line: ALL the women involved in the band were inspiring and influential, in one way or another. I always think that's a testimonial of value. IF that's not shared, then parts of our legacy, our lives are lost. It's not about being immortal. It's about inspiring others. LA punk and punk all over changed the face of our culture.
People don't think of the Runaways as punk per se. But they were a vital component during a wonderfully creative period in LA. When creating art and music was something so many of us did, together. We lived lives you can't replicate as easily today, due to the economic situation.
We can and should always create art and music if we have the passion, no matter the economics. That's something which should come across when talking about the Runaways, ALL OF THEM, esp Sandy and Lita, and yes, Jackie and Vicki Blue.
We never lose anything by sharing with others. Seriously. We ALL came from dysfunctional and usually abusive families. Many of us dealt with drugs, be it booze or pills or needles. We all slept around. Let's get beyond that.
Again, I AM HAPPY for Cherie and Joan. Although I'm sure some will say I have an agenda. Just to open the doors to history/herstory. Whatever is on the screen, I guarantee there was lots more which may have added gravitas or answered a few more questions. But hey, they didn't ask me . . . so I am treading as carefully as I can for being such a obsessed-with-history photojournalist. AND Runaways fan. I wish them ALL the very best!
The first time I heard that vapid Stewart person was involved, I knew this was gonna be bad news. Too bad.
Coming soon: Mel Gibson's new film called "Action-Packed!" Then, DeCaprio's next vehicle, "Four Stars - Amazing!"
And the next indie-publicity firm collaboration for Sundance, "Stunningly Beautiful!"
Too bad. The Runaways weren't the greatest band in the world, but they deserved better than this.
i saw the film last weekend and i've been talking and thinking about it since. i was blown away at how visceral and authentic if felt. the performances are not be missed. and the soundtrack is incredible.
Aside from Joan never playing lead guitar (she stuck solely with rhythm---I've never even seen her try to do a solo with the Runaways and the brief lead breaks on her solo records are done by male players), the Runaways most successful album in terms of songwriting and performance was arguably the first record without Cherie, Waitin' for the Night.. Unfortunately, none of the Runways albums ever sold more than 100,000 copies (if that) and they are akin to the Velvet Underground and Iggy and the Stooges, their influence and notoriety being much larger than their actual album sales. The Runaways never got any local airplay on the major rock stations in L.A. at the time, KLOS and KMET, either.
It is true, though, that Kim Fowley did overshadow the band in the eyes of the rock press. So that part of the film is actually correct. But that was a two edged sword since when Fowley came out with another project, The Quick, his connection with them hurt the chances of a pretty strong debut record at getting any attention from the media and radio.
...i saw The Runaways and i liked it, but i loved Wendy O...