| Cast overview, first billed only: | |||
| John Magaro | ... | ||
| Jack Huston | ... | ||
| Will Brill | ... | ||
| Brahm Vaccarella | ... | ||
| Gregory Perri | ... | ||
| James Gandolfini | ... | ||
| Bella Heathcote | ... | ||
| Molly Price | ... | ||
| Meg Guzulescu | ... | ||
| Dominique McElligott | ... | ||
| Christopher McDonald | ... |
Jack Dietz
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| Brad Garrett | ... |
Jerry Ragovoy
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| Isiah Whitlock Jr. | ... |
Landers
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Gerard Canonico | ... |
Schindewulf
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F. Michael Haynie | ... |
The Bloat
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On a train, Keith and Mick chat about the blues and the Rolling Stones are born. Douglas and Joe chat in front of a New Jersey music store, and a band is born: as Douglas's sister tells us, it's one of many that don't make it. We follow Douglas from high school (1963-64), when he sees himself as a loser, into the band, playing drums and singing backup - then as the front man. There are tensions, a breakup, an audition in front of a major player, and decisions. Douglas pursues Grace, a country-club gal with hip sensibilities who believes in him. There's also his father, working class, wanting Douglas to apply himself as he watches his own life fill with regrets. Written by <[email protected]>
As with most filmmakers who work in themes, you should watch this to see Chase's perspective on the material, not for the story itself. Its seemingly formless structure will throw off some viewers, but it's very much in line with his body of work, being less about the music and the era and more about the effects of the passage of time, specifically the tug of the past on the present and the evolution of character (or not) as the years go by. It's an autobiographical elaboration on the themes in the dark and sad final seasons of the Sopranos, though it does have plenty of the usual witty Chase touches as well, like the kids dancing away the JFK retrospective. There's a pervasive sense of nostalgia because the setting feels realistic, neither idealistic like a Spielberg/Lucas movie nor revisionist like the progressive Pleasantville-type movies whose intention is to show us all how the past wasn't as enlightened as today. The downside is that it's such a well-covered period and milieu (for my generation The Wonder Years is the reference point) that it's hard to find something original to say. But go in with the understanding that it's more complex than it appears and it'll give you plenty to chew on afterward. At one point the lead and his girlfriend are watching Blow-Up and he comments on how strange it is there's no music to tell you when someone's going to get killed, and she replies that the sound of the wind in the trees is the music, which sums up this movie pretty well.