Admittedly, I’m not the biggest fan of musicals, which is a little odd as I’ve actually starred in a few myself. I guess I like being in them, but they rarely interest me as a spectator. Occasionally I’dd be wowed by by one, whether on the stage or the big screen. DREAMGIRLS is a good example. The newest Clint Eastwood film JERSEY BOYS is an adaptation of the long-running play, which has graced Broadway and other large venues. While music is absolutely a big part of it, this is one film that doesn’t feel like your typical musical, and the end result is rather entertaining.

JERSEY BOYS is the story of The Four Seasons, and more specifically lead singer Frankie Valli (played in the film by John Lloyd Young). Frankie and his best friend Tommy DeVito (Vincent Piazza) grow up in the rough streets of New York, under the watchful eye of gentleman crime boss Gyp DeCarlo (Christopher Walken). Gyp sees big potential in Frankie, encouraging his singing career. Tommy works for Gyp, but never seems to get much respect from the man he tries his best to emulate. Eventually Frankie and Tommy eventually get together with their friend Nick Massi (Michael Lomenda) and meet songwriter Bob Gaudio (Erich Bergen), and form a band. Initially their producer contact Bob Crewe (Mike Doyle) gives them a shot at the big leagues, beginning as back-up singers for other potential solo act. Eventually the boy prove themselves capable of greatness, dubbing themselves The Four Seasons. As they skyrocket to fame and fortune, there’s trouble behind the scenes. Frankie’s wife becomes resentful of her husband’s lengthy time on the road, and Tommy’s money troubles start to catch up with the band. As the years pass, the hits keep on coming, but the band’s spirit is challenged again and again.

Regardless of whether or not you’re familiar with the popular tunes from Frankie Valli and The Four Seasons, the film is a great reminder of just how many memorable songs they were responsible for. Eastwood lets the music compliment the story, but never lets it overpower the characters. There’s no one singing to the screen, but frequent moments where characters talk directly to the audience, usually to let us know how things started to fall apart at various moments. In many ways it feels like Martin Scorsese’s GOODFELLAS, or perhaps the more recent THE WOLF OF WALL STREET, engaging the audience as if this was a group of people telling us a story while we watched it play out. More often than not, it works too, and keeps the pacing (something Eastwood sometimes has problems with as a director) moving and grooving for the 2-hour and 14-minute running time. There is a section of the film that slows down considerably about 90 minutes in, and comes dangerously close to making the proceedings a bit boring, but thankfully the hearty ending more than makes up for it.

The smartest move made here is the casting of John Lloyd Young, Michael Lomenda and Erich Bergen (all of them veterans of the stage production – Young originated the role of Valli on Broadway) was a smart choice by Eastwood, as these guys already know these parts inside and out, and bring an authenticity to each role that sells the finished product with polish and perfection. Vincent Piazza is also great as the cocky Tommy DeVito, though most may only know him from his work on BOARDWALK EMPIRE – this will likely be a star-making performance for the young actor. Christopher Walken is also terrific as Gyp, used sparingly in the story, but making the most of his screen time. Renée Marino turns in a strong reading as Frankie’s wife Mary, humorously chewing scenery when she’s first introduced, and convincingly playing the unhinged spouse as Frankie’s years on the road take their toll. Mike Doyle is another highlight as Bob Crewe, the self-aware flamboyant music producer who was a very important part of the band’s growth. And Donnie Kehr gives an effectively unnerving performance as Norm Waxman, the man Tommy ends up owing way too much money to.

JERSEY BOYS is toe-tapping entertainment on the big screen, fun to watch and definitely the kind of film you’ll find discussing afterward. Eastwood managed to take a well-know play and make it work as a movie, maintaining the integrity of the source material without simply feeling like a musical on the big screen. It’s safe to say the film is one of the more entertaining productions to hit theaters this year. While it may not have the star power some recent similar films have had, it more than makes up for it in sincerity. It should also be noted this is a rather unusual effort to come from Eastwood, a director primarily known for slow-moving dramas. It shows that a competent director, no matter their age, can continue to surprise us. Check it out this weekend and let us know your thoughts in the comments.

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