Great Balls of Fire!

BLU-RAY REVIEW:

Olive;
Drama;
$24.95 DVD, $29.95 Blu-ray;
Rated ‘PG-13.’
Stars Dennis Quaid, Winona Ryder, Alec Baldwin, Trey Wilson. 

Nobody pulled too many muscles remastering Orion Pictures’ cartoonish Jerry Lee Lewis biopic for Blu-ray release, but curio seekers may want to be reminded — because I had totally forgotten myself — that Alec Baldwin plays evangelist Jimmy Swaggart, the real-life cousin of rockdom’s self-ordained “Killer.” Actually, it’s another cousin who looms large in the Lewis saga (more on that in a minute), but let it be noted, also for the curious, that Baldwin doesn’t even attempt a characterization. We can almost hear the actor bellowing, “None of that Dennis Quaid peroxide mixed into in my hair, you don’t.”

It’s the similar lack of detail beyond the onetime standard tabloid boilerplate of the day that hurts the picture, which was positioned and certainly promoted to be a hit, what with Lewis’s cooperation and even his agreement to record improved-fidelity versions of his career-making Sun Records hits from his brief time at the highest rungs of the top. Since his wedding-related tumble, of course, Lewis has always been a formidable “name” at the very least, as well as an undeniable killer when it comes to showmanship. Boomers everywhere have long waited for him to co-author a health-tips volume with Keith Richards called How To Defy the Odds by Living Half-a-Century Longer Than Anyone Predicted.

Much like Richards’ Rolling Stones of the ’60s, at least when at least compared to the Beatles dressing like gentlemen on “The Ed Sullivan Show,” dangerous Lewis posed a threat to parental stress levels that Elvis didn’t fully replicate, or at least all the time. Elvis, after all, occasionally scored smash hits with ballads like “I Want You, I Need You, I Love You” or “Love Me Tender” or “Don’t” — and even romanced Debra Paget tender-ly in his Tender screen debut. Judging just from his performing behavior — and you can get a short idea of how scary he was at the time via a brief clip in that mammoth six-part American Music: The Root of Country doc that Ted Turner aired in 1996 — Lewis on screen with Paget would likely have been more akin to what the actress (as “Lilia”) had to endure during the Golden Calf orgy scene in DeMille’s The Ten Commandments.

All of this was exciting, of course, to us fourth and fifth graders at the time — a good topic of discussion during school detention, to be sure, after our near-daily adventures in Ohio classroom disrupting that anticipated everything in Truffaut’s The 400 Blows. On the small screen, as opposed to concert appearances, Lewis was at his piano-pounding wildest on “The Steve Allen Show” and even named his son after the comic host — whose not-ever-to be-missed Sunday night variety show got programmed by NBC opposite Sullivan for a much hipper hour, though one not as big in the ratings (think Cavett vs. Carson in the counterculture early ’70s). This is kind of odd because like the equally uproarious Stan Freberg, Allen disdained “the new sounds” (I think both made rock critic Dave Marsh’s “Enemies of Rock and Roll” list). But he also appreciated outrageousness when he saw it, went with the flow, and his too brief appearance as himself in this movie is a minor high point.

The high point here is probably Winona Ryder as Lewis’s 13-year-old first cousin (removed) Myra, whose marriage to him as wife No. 3 did not amount to a crackerjack career move in late 1957 (just as the film’s title tune was soaring the charts around Christmas time after Whole Lotta Shakin’ Going On had ripped up the previous summer). Ryder is fully credible playing someone very young (and, indeed, might even pass for 13), though this part of the movie’s chronology is completely screwed up here in terms of Lewis record releases. (The Dave “Baby” Cortez recording of “The Happy Organ” also shows up on the soundtrack about a year before it would have been possible to do so.) The Jerry-Myra union — which, for a long while, managed to survive a pompously negative British press of Uriah Heep types during a disastrous musical tour in early ’58 — didn’t keep that spring’s “Breathless” from being a top-10 hit (it’s a killer itself). But it likely did make a big dent in the potential sales of follow-up High School Confidential!, which sported one of the coolest 45 jackets ever in that it showcased not just Lewis, but the cast of actors who headlined that teen-junkie trash classic, including Russ Tamblyn and Mamie Van Doren. I had it (of course) and played it in my room after detentions.

After that, things went downhill for the singer pretty fast, and a final indignity came in 1959 when someone ghosted an article under (the original) Jerry Lewis’s name in Photoplay (with Elvis in army uniform on the cover) called, “I Am NOT Jerry Lee Lewis.” And even when Jerry Lee made one of the greatest live albums ever in the mid-’60s, its release was held up for years.

Even so, the movie ends on a happy note suggesting that Lewis and Myra ended up together for decades of walks into the sunset, but he ended up being as married almost as many times as Larry King (I can’t remember if they ever married each other). The director here is Jim McBride, who had directed Quaid in one of his most appealing efforts (The Big Easy) but in this case can’t keep his star from doing the truly impossible: fashioning a performance as Lewis that is, of all things, too broad — a trait it shares with the movie. Nearly two hours of sheer burlesque, Fire! tries to be (or, at least, is) such a pastiche of everything that was happening in the musical/pop culture scene at the time that nothing seems authentic. The minor compensation for this is the film’s accelerated pace and an occasionally hilarious response or reaction shot by Quaid, usually over some indignity. And though, as mentioned, the print could use a fresh, modern-day remastering, the production design is so sprightly under any circumstances that I’d even enjoy living with the wild two-toned carpet in the home the newlyweds look at, even if no one else I’ve ever known likely would.

Through it all, Baldwin’s Swaggart remains a moral compass who is many public years away from the phlegm-faced adulterer whose nationally broadcast-to-death mea culpa in 1988 inspired my then 21-month older son (now an anesthesiologist) to take a baby’s milk bottle out of his month and identify him, when asked on a lark, as the first George Bush. Thus, we do not get to see a Baldwin dramatization of quaking Swaggart crying, “I have sinned” on the airwaves three years and change before a subsequent arrest with a prostitute — but the way things are going with Donald Trump, maybe a newer version will eventually show up on “Saturday Night Live.”

Mike’s Picks: ‘Running Wild’ and ‘Great Balls of Fire!’

 

 

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