A satisfying documentary about the all-girl rock group, The Runaways, made by former Runaway Vicki Blue. Where the recent movie THE RUNAWAYS (2010) felt like something of a white-wash of the story, this is the more informative work in comparison and is certainly recommended viewing for fans. Much of the dirty details are presented here, and we have former band members Cherie Currie, Sandy West, Lita Ford, and Jackie Fox all separately interviewed. So is former manager Kim Fowley. It's unfortunate that Joan Jett declined to participate, but strangely the film still works as a treasure trove of information even without her input. Due to rights issues we only get to see The Runaways performing two cover songs, and most of the soundtrack is courtesy of Lita Ford's solo music and Suzi Quatro tunes. But it's no matter, as the real meat of the production is in the juicy stories the girls relate to us. There are short snippets of some late Runaways footage which is not usually seen that leaves you aching to see more. Filmed in 2004, the parting thoughts are quite unsettling in retrospect when we witness drummer Sandy West pouring out her guts about her fondness for her old band and the regret she feels that they never reunited; tragically, West contracted lung cancer in 2005 and died in 2006. *** out of ****
21 Reviews
Missed Opportunity
rockabilly-15 September 2007
This is very well done, and is very informative and fans of the band will find this engrossing. But with the recent death of Sandy West, the lack of participation in this documentary of Joan Jett is very sad. Let's face it, there will never be another documentary about this band, that will have the opportunity to tell the true story, or at least the story of the band from each of the major participants. It's very sad that after all this time the participants in this story could not put their differences aside for long enough to put on film their story and feelings about their memories about this unique and very neglected band. Or maybe the fact that they could not, is the true story of how horrible this experience was for the young women who lived it.
Antedote to glossy Runaways movie; Good job given director's constraints; incomplete but gives real insight into Runaways story
quadguy18 March 2010
Warning: Spoilers
The greatest strength of this very good-but-flawed documentary is honesty. Four of the five members of the most famous version of the group (excluding Joan Jett) provide extensive on-camera interviews, as does replacement bassist Vicki Blue (also the director), and they are mostly no holds barred. Instigator/original manager Kim Fowley also appears for guarded but unvarnished commentary. The original Runaways are all interviewed separately, and each provides her reminiscences. It is quite clear from the interviews that all the the original members look back at both the other members and the overall experience with a mixture of ambivalence, bitterness, and regret. Taken as a whole, their reminiscences provide a Roshoman-like perspective from which a net truth can be pieced. This is as close to that truth as we have gotten, and much closer than we get in the more recent bigger budget Runaways movie.
To anyone interested in the Runaways story, or interested in the sordid machinations behind the Svengali fueled star-making machinery of the music business, this will be engrossing and will be essential viewing.
That said, this documentary falls a bit short of great, due in varying degrees to a paucity of archival material, Joan Jett's failure to participate, and a somewhat too narrow, too inside approach to the story.
OK, let's take those three points one at a time:
1) Limitations on the archival source material. Joan Jett declined to participate. As a result, vintage Runaways songs co-written by Jett were not available either for the soundtrack, or for video. Therefore, for example, footage of the Runaways performing is limited to two cover songs. The soundtrack is populated mostly by Lita Ford (solo) and Suzi Quatro songs. Perhaps more significant is the absence of vintage footage of the Runaways at press conferences, in TV interviews, etc. The contrast between the middle aged women the Runaways have become and these women as teenagers would have added tremendously to the film.
2) Joan Jett's lack of participation. As noted, this resulted in the lack of vintage performance materials. But it also means we are not treated to Jett's perspective on the days of the Runaways. Surprisingly, this is a relatively modest loss. The interviews with the other former members are (seemingly) honest enough that they paint a pretty complete picture. One doesn't actually sense that her lack of interview participation leaves as large a hole as might be expected.
3) A too narrow, too inside approach. The film takes as almost a given that the viewer is invested in the Runaways as cultural icons, and that there is little need to investigate their place in the development of pop music. While that's OK for die hards, it unnecessarily limits the appeal of this film. Where is the essential commentary contemporaries of The Runaways--from artists with whom they toured or co-mingled, such as The Ramones, Cheap Trick, Blondie, etc? Where is the back story on the girls, which might explain how 14 year old girls were hanging out at nightclubs by themselves, available to be exploited? The meat of this movie would always be the interviews with the women themselves, of course, but framing is critical to make something more universal.
Despite these limitations, if you have an interest in The Runaways, the film still packs a punch.
Compared to the slick, bigger budget Runaways docudrama (which was produced with Joan Jett's participation, and which reflects a mostly Jett-centric view, and an almost entirely Jett Currie focus), this is most certainly the deeper film.
That said, the sad thing is that this documentary contains the outline of a GREAT docudrama: Young, naive girls with doe-eyed dreams taken in by a predatory Svengali, used, abused and discarded, with the most fulfilling part of the story how they ultimately dealt with the collapse of those early promises. There's plenty of sex, drugs, and rock and roll to spice it all up, of course. But I think that's the far less interesting story. Too bad that's the story that, for the most part, the big budget Runaways film chose to feature. Contrasting how the different members of the group dealt with the collapse of the Runaways offers a fantastic mix of success, failure, reinvention, the triumph of tenacity, and tragedy of being unable to reconcile childhood dreams with adult realities, specifically:
Jackie Fox, the smartest one (and the one who would always have the most options available to her), drops out of the group first, goes off the grid, finds herself, goes back to college, Harvard law, and becomes a successful attorney.
Vicki Blue, replacement bassist, leaves and becomes a successful video auteur.
Joan Jett and Lita Ford: Prospects outside the music world might have been minimal, but they were driven and lucky, and ultimately found legitimate success in music on their own terms.
Cheri Currie: Directionless but benign girl has her innocence and childhood evaporate as she becomes the sexed up jail-bait singer for The Runaways. She buys into the image and lifestyle, but finally quits in disgust, eventually finding a certain peace in a modest (figuratively) just outside of Hollywood existence.
Sandy West: Fox had the brains, Blue the artistic and personal perspective, Jett and Ford had the musical talent and drive and Currie was scrappy enough to find her way. West just wanted to play drums. When that went south, her life trajectory was one of deepening decent into darkness: drug dealing, jail, etc. Her interview for this film reveals that nearly a quarter of century later, she still wondered "what happened?" and was waiting for that Runaways reunion that would never come. (West died a couple of years after this film was completed).
If you've seen The Runaways movie, and you're interested in further back story, this documentary is a must. The Runaways is adequate entertainment. But there's a lot more heart in this film.
To anyone interested in the Runaways story, or interested in the sordid machinations behind the Svengali fueled star-making machinery of the music business, this will be engrossing and will be essential viewing.
That said, this documentary falls a bit short of great, due in varying degrees to a paucity of archival material, Joan Jett's failure to participate, and a somewhat too narrow, too inside approach to the story.
OK, let's take those three points one at a time:
1) Limitations on the archival source material. Joan Jett declined to participate. As a result, vintage Runaways songs co-written by Jett were not available either for the soundtrack, or for video. Therefore, for example, footage of the Runaways performing is limited to two cover songs. The soundtrack is populated mostly by Lita Ford (solo) and Suzi Quatro songs. Perhaps more significant is the absence of vintage footage of the Runaways at press conferences, in TV interviews, etc. The contrast between the middle aged women the Runaways have become and these women as teenagers would have added tremendously to the film.
2) Joan Jett's lack of participation. As noted, this resulted in the lack of vintage performance materials. But it also means we are not treated to Jett's perspective on the days of the Runaways. Surprisingly, this is a relatively modest loss. The interviews with the other former members are (seemingly) honest enough that they paint a pretty complete picture. One doesn't actually sense that her lack of interview participation leaves as large a hole as might be expected.
3) A too narrow, too inside approach. The film takes as almost a given that the viewer is invested in the Runaways as cultural icons, and that there is little need to investigate their place in the development of pop music. While that's OK for die hards, it unnecessarily limits the appeal of this film. Where is the essential commentary contemporaries of The Runaways--from artists with whom they toured or co-mingled, such as The Ramones, Cheap Trick, Blondie, etc? Where is the back story on the girls, which might explain how 14 year old girls were hanging out at nightclubs by themselves, available to be exploited? The meat of this movie would always be the interviews with the women themselves, of course, but framing is critical to make something more universal.
Despite these limitations, if you have an interest in The Runaways, the film still packs a punch.
Compared to the slick, bigger budget Runaways docudrama (which was produced with Joan Jett's participation, and which reflects a mostly Jett-centric view, and an almost entirely Jett Currie focus), this is most certainly the deeper film.
That said, the sad thing is that this documentary contains the outline of a GREAT docudrama: Young, naive girls with doe-eyed dreams taken in by a predatory Svengali, used, abused and discarded, with the most fulfilling part of the story how they ultimately dealt with the collapse of those early promises. There's plenty of sex, drugs, and rock and roll to spice it all up, of course. But I think that's the far less interesting story. Too bad that's the story that, for the most part, the big budget Runaways film chose to feature. Contrasting how the different members of the group dealt with the collapse of the Runaways offers a fantastic mix of success, failure, reinvention, the triumph of tenacity, and tragedy of being unable to reconcile childhood dreams with adult realities, specifically:
Jackie Fox, the smartest one (and the one who would always have the most options available to her), drops out of the group first, goes off the grid, finds herself, goes back to college, Harvard law, and becomes a successful attorney.
Vicki Blue, replacement bassist, leaves and becomes a successful video auteur.
Joan Jett and Lita Ford: Prospects outside the music world might have been minimal, but they were driven and lucky, and ultimately found legitimate success in music on their own terms.
Cheri Currie: Directionless but benign girl has her innocence and childhood evaporate as she becomes the sexed up jail-bait singer for The Runaways. She buys into the image and lifestyle, but finally quits in disgust, eventually finding a certain peace in a modest (figuratively) just outside of Hollywood existence.
Sandy West: Fox had the brains, Blue the artistic and personal perspective, Jett and Ford had the musical talent and drive and Currie was scrappy enough to find her way. West just wanted to play drums. When that went south, her life trajectory was one of deepening decent into darkness: drug dealing, jail, etc. Her interview for this film reveals that nearly a quarter of century later, she still wondered "what happened?" and was waiting for that Runaways reunion that would never come. (West died a couple of years after this film was completed).
If you've seen The Runaways movie, and you're interested in further back story, this documentary is a must. The Runaways is adequate entertainment. But there's a lot more heart in this film.
Neon Angels on the Road to Ruin
unbrokenmetal18 January 2009
Talking about 'Edgeplay', it's a two-edged sword! I'd like to start with what I disliked: 1) the camera work. Can't the guy hold still for a minute? Shaking the camera up and down and sideways maybe nice for 5 minutes of MTV interviews, but using that style for a 110 minutes documentary is nerve-wracking. 2) A documentary about a band without playing one song of their own material? Must be a first time. Instead, we get stuff from Suzi Quatro and Lita Ford's solo albums in the background. 3) Naturally, the absence of Joan Jett is a big problem. She wants to make her own Runaways picture in 2009, maybe after that we'll get a more complete view of the story.
I'm glad I took the time to watch 'Edgeplay', nevertheless. Especially Cherie has many interesting things to say (and yes, she looks better now than back then). I liked that they interviewed the mothers of Cherie and Sandy as well - understandably, they must have been afraid of what was going on with their daughters far away from home, and nobody every talks about things like that because it's not 'cool' or some stupid reason like that. The picture 'Edgeplay' paints of Lita Ford doesn't omit the dark sides, apparently she is not famous for her patience and self-control. Watching Sandy (the last opportunity before her untimely demise) is touching. Alright, so 'Edgeplay' is interesting for fans to know more about the unique band, but it leaves many viewers unsatisfied, I guess.
I'm glad I took the time to watch 'Edgeplay', nevertheless. Especially Cherie has many interesting things to say (and yes, she looks better now than back then). I liked that they interviewed the mothers of Cherie and Sandy as well - understandably, they must have been afraid of what was going on with their daughters far away from home, and nobody every talks about things like that because it's not 'cool' or some stupid reason like that. The picture 'Edgeplay' paints of Lita Ford doesn't omit the dark sides, apparently she is not famous for her patience and self-control. Watching Sandy (the last opportunity before her untimely demise) is touching. Alright, so 'Edgeplay' is interesting for fans to know more about the unique band, but it leaves many viewers unsatisfied, I guess.
Where's the music???
memery-18 December 2006
Watching a documentary about a rock band, I was expecting to see more archival concert footage or hear more music. There are only two concert segments -- both feature covers: Velvet Underground's 'Rock n Roll' and Troggs' 'Wild Thing'. The incidental music backing the interview segments sounds like something out of "Twin Peaks." Perhaps this type of score was selected to enhance the seedy backstory of these girls who were eaten alive and spit out by an unmerciful music industry.
This film is really for fans only. Anyone who doesn't know the backstory of the Runaways might end up confused or bored. But for true Runaways-maniacs, the interviews are quite revealing.
This film is really for fans only. Anyone who doesn't know the backstory of the Runaways might end up confused or bored. But for true Runaways-maniacs, the interviews are quite revealing.
Stunning
jeff-86929 March 2005
Edgeplay is a documentary. It is a film that "documents" the stories and life experiences of 6 women, who were once 6 young girls called The Runaways.
What Edgeplay is not, is another in a seemingly endless string of rock biog's, in which aging rockers wax nostalgic about their first gold record, or their sexual escapades. It is not a typical, unimaginative E! channel collection of interviews with worshipful and obsequious narration, constantly reminding you of the legendary status of the subjects, just in case you didn't know.
Apparently, over the years, with the mounds of praise heaped over recent entries like Metallica - Some Kind Of Monster and Ramones - End Of The Century, the art of documentary seems to have been reduced to :Point a DV camera at a musician in a chair and ask him questions, show scans of nostaligic photos, and point a DV camera at a talking head or critic and allow them to explain why the artist in study is brilliant.
The problem with this tired approach is not only Deja Vu to the nth degree after seeing essentially the same film over and over, but at least to me, an exasperating need on the part of the film-makers to take you by the hand, and lead you like a child to the conclusion they would like you to draw, ala Oliver Stone.
Victory Tischler-Blue seems to have seen as many of these as we have, and decided, luckily for us, that the easy way was the wrong way to tell this often dark and disturbing tale. Admittedly, a static camera and an interesting anecdote can be informative, even absorbing, if the story and the storyteller are good, but there comes a time when you start to ask yourself; "Is this it?" Is this all that can be done with the documentary medium?
Directors normally utilize music as a tool to influence mood in their films, and in the best of examples, it's a tried and true approach. However in Edgeplay, that role is largely taken over by the camera. When Cherrie Currie, begins to relate a particularly sordid tale, the film begins to go faded and jumpy, not unlike the deadly video featured in Hideo Nakata's "Ringu" or the dream sequence in Friedken's "The Exorcist". A short, sudden jumble of nightmarish images and quick edits creates a palpable sense of unease - a sense that the film is trying to tell us something more - sending out a message in a bottle - a visual metaphor that parallels the story as surely and effectively as the pulsing ostinato in "Jaws".
There's a persistent sense of haunting running through some of the scenes that I found impossible to shake-off for hours after I'd seen it.
A good deal of the darkness in Edgeplay derives from the evident bitterness of Cherrie Currie and Sandy West, the two members who arguably suffered the most from their experiences in the band, and seem unable to get past it, continuing to hold grudges (some certainly understandable), and harbor feelings of loss and betrayal almost 30 years later. The final segment of the film focuses on drummer Sandy, who takes you on a very rough journey through her post-Runaways life, in a very short scene, that nonetheless seems to go on forever. The director's camera is merciless in starkly lit close-up, every haggard line in a face that has seen too much, speaks more loudly than any narration or musical cue ever could. Tischler-blue puts us into a stare-down with West that most of us will lose. The pain and regret in her clear eyes is unforgettable.
But there is hope as well. For every tragic heroine and/or victim in Edgeplay, there is also a survivor. There is the unflappable Lita Ford, who not only went on to become the rock star she wanted to be, but seems to remain largely unperturbed by her memories of her time in the band. There is Jackie Fox (Fuchs) who, rather than wallow in self-pity from her negative experience in the music business, ended-up an entertainment lawyer, representing artists and musicians. If that isn't sweet revenge, I don't know what is. And then of course there's Vicki Blue, Director of the film, who after leaving the band, decided to follow her muse into film-making. The hope lies in the sureness of the lessons learned, by Ms. Tischler-Blue, Ms. Fuchs and Ms. Ford that refusal to remain a victim, can render the monsters of our youth toothless.
It would have been nice to have heard from Joan Jett, who doesn't appear in the film except for archival footage, yet her presence, oddly enough is felt just the same.
What makes Edgeplay such a disturbing and yet satisfying experience, is it's utter refusal to tell you how you should be feeling about anything. It very smartly assumes you can decide for yourself who the heroes and villains are, and it does so in such a unique and refreshingly cinematic way, that it makes most of the rock biographies on the video shelf seem like cheap, generic DVD extras in comparison.
Edgeplay can be dark and ominous, exciting and hilariously funny, edgy yet thoughtful, but it is never pedestrian, and never boring. It is a kind-of aerial photograph of the lives of 6 very talented, very complex women, taken from such a height, that we can see where there various paths all went, in a way that is shockingly simple - and yet, isn't hindsight always?
What Edgeplay is not, is another in a seemingly endless string of rock biog's, in which aging rockers wax nostalgic about their first gold record, or their sexual escapades. It is not a typical, unimaginative E! channel collection of interviews with worshipful and obsequious narration, constantly reminding you of the legendary status of the subjects, just in case you didn't know.
Apparently, over the years, with the mounds of praise heaped over recent entries like Metallica - Some Kind Of Monster and Ramones - End Of The Century, the art of documentary seems to have been reduced to :Point a DV camera at a musician in a chair and ask him questions, show scans of nostaligic photos, and point a DV camera at a talking head or critic and allow them to explain why the artist in study is brilliant.
The problem with this tired approach is not only Deja Vu to the nth degree after seeing essentially the same film over and over, but at least to me, an exasperating need on the part of the film-makers to take you by the hand, and lead you like a child to the conclusion they would like you to draw, ala Oliver Stone.
Victory Tischler-Blue seems to have seen as many of these as we have, and decided, luckily for us, that the easy way was the wrong way to tell this often dark and disturbing tale. Admittedly, a static camera and an interesting anecdote can be informative, even absorbing, if the story and the storyteller are good, but there comes a time when you start to ask yourself; "Is this it?" Is this all that can be done with the documentary medium?
Directors normally utilize music as a tool to influence mood in their films, and in the best of examples, it's a tried and true approach. However in Edgeplay, that role is largely taken over by the camera. When Cherrie Currie, begins to relate a particularly sordid tale, the film begins to go faded and jumpy, not unlike the deadly video featured in Hideo Nakata's "Ringu" or the dream sequence in Friedken's "The Exorcist". A short, sudden jumble of nightmarish images and quick edits creates a palpable sense of unease - a sense that the film is trying to tell us something more - sending out a message in a bottle - a visual metaphor that parallels the story as surely and effectively as the pulsing ostinato in "Jaws".
There's a persistent sense of haunting running through some of the scenes that I found impossible to shake-off for hours after I'd seen it.
A good deal of the darkness in Edgeplay derives from the evident bitterness of Cherrie Currie and Sandy West, the two members who arguably suffered the most from their experiences in the band, and seem unable to get past it, continuing to hold grudges (some certainly understandable), and harbor feelings of loss and betrayal almost 30 years later. The final segment of the film focuses on drummer Sandy, who takes you on a very rough journey through her post-Runaways life, in a very short scene, that nonetheless seems to go on forever. The director's camera is merciless in starkly lit close-up, every haggard line in a face that has seen too much, speaks more loudly than any narration or musical cue ever could. Tischler-blue puts us into a stare-down with West that most of us will lose. The pain and regret in her clear eyes is unforgettable.
But there is hope as well. For every tragic heroine and/or victim in Edgeplay, there is also a survivor. There is the unflappable Lita Ford, who not only went on to become the rock star she wanted to be, but seems to remain largely unperturbed by her memories of her time in the band. There is Jackie Fox (Fuchs) who, rather than wallow in self-pity from her negative experience in the music business, ended-up an entertainment lawyer, representing artists and musicians. If that isn't sweet revenge, I don't know what is. And then of course there's Vicki Blue, Director of the film, who after leaving the band, decided to follow her muse into film-making. The hope lies in the sureness of the lessons learned, by Ms. Tischler-Blue, Ms. Fuchs and Ms. Ford that refusal to remain a victim, can render the monsters of our youth toothless.
It would have been nice to have heard from Joan Jett, who doesn't appear in the film except for archival footage, yet her presence, oddly enough is felt just the same.
What makes Edgeplay such a disturbing and yet satisfying experience, is it's utter refusal to tell you how you should be feeling about anything. It very smartly assumes you can decide for yourself who the heroes and villains are, and it does so in such a unique and refreshingly cinematic way, that it makes most of the rock biographies on the video shelf seem like cheap, generic DVD extras in comparison.
Edgeplay can be dark and ominous, exciting and hilariously funny, edgy yet thoughtful, but it is never pedestrian, and never boring. It is a kind-of aerial photograph of the lives of 6 very talented, very complex women, taken from such a height, that we can see where there various paths all went, in a way that is shockingly simple - and yet, isn't hindsight always?
Interesting band, not so interesting documentary
dragonflypurple23 September 2006
Warning: Spoilers
The Runaways are my favorite band. So I was very excited when I found that there was a documentary about them. However, I thought that the documentary was disappointing. While the information and people were very interesting, I thought it was badly made. It wasn't unified at all- it was just a random collection of interviews. Also, many of the interviews went on for far too long and really should have been edited. To top it off, there was all this weird slo-mo footage interspersed with the interviews of Sandy West running, or of some random girl being tied up, that seemed way too melodramatic, and just made me want to laugh. Despite all this, I still enjoyed this movie to some extent. The story of the band is fascinating, and it was interesting to hear about it directly from the mouths of the original members (except for Joan Jett, who wasn't in the movie at all). I've heard some people complain about this movie because of the people involved- "Lita Ford's 'tell it like it is' attitude is so lame and boring... Sandy West is so bitter and pathetic, I mean come on! suck it up" What these people forget is that Sandy and Lita and all of them are real people. They aren't characters. They can't help acting the way they are. They aren't unbiased storytellers, they are still products of what happened to them when they were in the runaways and later. That is the most interesting part of the movie. I almost cried when Sandy started talking about how she wished the band would just get back together. Sure it was a bit pathetic. But it was completely honest, and just showed how horrible her life has been.
Wow
metalpat31 March 2005
Warning: Spoilers
I don't even know where to start. I've watched Edgeplay three times in the few days since I got it, and still feel as if I am seeing new, dusty corners in a room I grew-up in.
If you are looking for another typical, VH-1 styled look at the fun and excesses of a dysfunctional rock band, this complex film may disappoint you. Edgeplay is not a film intended to excite, gawk, or fawn over it's subjects, and I say subjects rather than "subject" intentionally, as it's a film about people, not about the rock 'n roll lifestyle. There is no whimsy for the joyful free-sex and drugs of the 70's, or any fan-boy enthusiasm for The Runaways as a band.
What there is, is an insightful and compassionate look at a tragic and yet stoic group of young women, who made history, without ever receiving any praise, who made great music without ever selling many records, and who paid dearly in many ways for their now legendary status, with a good part of their childhoods.
Edgeplay is a documentary about the all-girl hard-rock band The Runaways, who so much like their tour-mates The Ramones, set the next two decades on fire, without getting any of the credit or rewards.
Victory Tischler-Blue, the director, writer and conscience of Edgeplay, endured a 6-year trial-by-fire getting this film made and released,(and is a story as compelling as any in her movie), and I think much of the raw honesty and poignancy in this film is in some ways a direct result of that struggle.
There is an almost Dickensian cast of characters: A young, Joan Jett-Talented and driven, yet shy and unsure of herself, Cherie Currie-A striking blonde, who never expected to be a singer, and yet, much like Lana Turner sitting at a soda fountain, was chosen to be one, Kim Fowley-A slimy Svengali who unashamedly preyed on very, young girls to make himself rich, and makes no apology, Sandy West-A tomboyish, young drummer who simply loved playing her drums, and wanted no more than to spend her life doing it, Jackie Fox-A doe-eyed bassist who found out earlier than the others that stardom could be an empty trophy cup, Lita Ford-Fiesty, tough, and driven, and Vicky Blue-The bassist who walked into this dysfunctional family in the midst of meltdown, and yet stayed on the outside enough, and more importantly, grew-up enough to make this incredible film.
I think Miss Blue, ex-band member and director of Edgeplay, knew something that Margaret Mitchell, author of Gone With The Wind knew. Mrs. Mitchell once said about the theme of her novel, " I often wondered why some people could rise above great adversity, while others, just as brave and smart, go under. All I know is that my daddy called that quality "gumption". I wanted to write about people that had gumption, and those who didn't". Well whether intentional or not (though I expect it was), that is exactly what Miss Tischler-blue has done here.
As most will know, Lita Ford and Joan Jett managed to escape the musical ghetto that was The Runaways, to find great success in the music business. The original bassist is now a successful attorney. Cheri Currie, although never achieving the same level of success, managed to find work in Hollywood for many years, and has continued with a low-profile music and art career. Sandy West, however was plagued with misfortune after her band dissolved, falling into desperately hard times, both financially, and otherwise, and much of this is explored unflinchingly in Edgeplay.
This film works on so many levels that I sometimes am awed by it. When you watch it the first time, you see and hear the story of a rock band. When you watch it a second time however, you begin to become absorbed by the enormous differences in these women. All but one of the members, now in middle-age and 25 years away from The Runaways, still carry deep emotional scars from their experiences, that seem to transcend anything that has happened to them since. All but one of them breaks down on camera in a way that's agonizing to watch. Is it really possible to carry resentment from teen-aged slights and squabbles into middle age? Once the women start talking to Miss Blue's camera, you find out that you can indeed.
The only one who does not seem affected by her experiences so long ago is Lita Ford, who I found, quite unexpectedly, the most fascinating of all. After 4 decades or so of life, I like to think I know false bravado when I see it, and yet in Lita I saw none. It's amazing to watch her face as she walks back over the same old paths as the others while recounting her experiences, and yet, to her, it was almost like describing a movie she had seen, and enjoyed, but could only partially remember; not because it wasn't exciting, but because, well....it was only a movie. Lita ends-up being Edgeplay's Scarlett O'Hara. The one who had gumption.
Of course Joan Jett became a star as well, but we'll never know her thoughts and feelings on things, as she declined to participate in the film. As I understand it, she was violently opposed to the film, it apparently not focusing enough on her, and did everything in her power to crush the film before it could be released. This is utterly mystifying, as her treatment in the film is essentially positive.
Edgeplay is, in many ways, the "Clockwork Orange" of rock documentaries. From the dark, sardonic tales of excess and loss-of-innocence, to the startlingly effective and moody camera-work, (which usually annoys me, but here served a real dramatic purpose for a change), this is a film that anyone can get something out of, whether you're a Runaways fan or not.
If you are looking for another typical, VH-1 styled look at the fun and excesses of a dysfunctional rock band, this complex film may disappoint you. Edgeplay is not a film intended to excite, gawk, or fawn over it's subjects, and I say subjects rather than "subject" intentionally, as it's a film about people, not about the rock 'n roll lifestyle. There is no whimsy for the joyful free-sex and drugs of the 70's, or any fan-boy enthusiasm for The Runaways as a band.
What there is, is an insightful and compassionate look at a tragic and yet stoic group of young women, who made history, without ever receiving any praise, who made great music without ever selling many records, and who paid dearly in many ways for their now legendary status, with a good part of their childhoods.
Edgeplay is a documentary about the all-girl hard-rock band The Runaways, who so much like their tour-mates The Ramones, set the next two decades on fire, without getting any of the credit or rewards.
Victory Tischler-Blue, the director, writer and conscience of Edgeplay, endured a 6-year trial-by-fire getting this film made and released,(and is a story as compelling as any in her movie), and I think much of the raw honesty and poignancy in this film is in some ways a direct result of that struggle.
There is an almost Dickensian cast of characters: A young, Joan Jett-Talented and driven, yet shy and unsure of herself, Cherie Currie-A striking blonde, who never expected to be a singer, and yet, much like Lana Turner sitting at a soda fountain, was chosen to be one, Kim Fowley-A slimy Svengali who unashamedly preyed on very, young girls to make himself rich, and makes no apology, Sandy West-A tomboyish, young drummer who simply loved playing her drums, and wanted no more than to spend her life doing it, Jackie Fox-A doe-eyed bassist who found out earlier than the others that stardom could be an empty trophy cup, Lita Ford-Fiesty, tough, and driven, and Vicky Blue-The bassist who walked into this dysfunctional family in the midst of meltdown, and yet stayed on the outside enough, and more importantly, grew-up enough to make this incredible film.
I think Miss Blue, ex-band member and director of Edgeplay, knew something that Margaret Mitchell, author of Gone With The Wind knew. Mrs. Mitchell once said about the theme of her novel, " I often wondered why some people could rise above great adversity, while others, just as brave and smart, go under. All I know is that my daddy called that quality "gumption". I wanted to write about people that had gumption, and those who didn't". Well whether intentional or not (though I expect it was), that is exactly what Miss Tischler-blue has done here.
As most will know, Lita Ford and Joan Jett managed to escape the musical ghetto that was The Runaways, to find great success in the music business. The original bassist is now a successful attorney. Cheri Currie, although never achieving the same level of success, managed to find work in Hollywood for many years, and has continued with a low-profile music and art career. Sandy West, however was plagued with misfortune after her band dissolved, falling into desperately hard times, both financially, and otherwise, and much of this is explored unflinchingly in Edgeplay.
This film works on so many levels that I sometimes am awed by it. When you watch it the first time, you see and hear the story of a rock band. When you watch it a second time however, you begin to become absorbed by the enormous differences in these women. All but one of the members, now in middle-age and 25 years away from The Runaways, still carry deep emotional scars from their experiences, that seem to transcend anything that has happened to them since. All but one of them breaks down on camera in a way that's agonizing to watch. Is it really possible to carry resentment from teen-aged slights and squabbles into middle age? Once the women start talking to Miss Blue's camera, you find out that you can indeed.
The only one who does not seem affected by her experiences so long ago is Lita Ford, who I found, quite unexpectedly, the most fascinating of all. After 4 decades or so of life, I like to think I know false bravado when I see it, and yet in Lita I saw none. It's amazing to watch her face as she walks back over the same old paths as the others while recounting her experiences, and yet, to her, it was almost like describing a movie she had seen, and enjoyed, but could only partially remember; not because it wasn't exciting, but because, well....it was only a movie. Lita ends-up being Edgeplay's Scarlett O'Hara. The one who had gumption.
Of course Joan Jett became a star as well, but we'll never know her thoughts and feelings on things, as she declined to participate in the film. As I understand it, she was violently opposed to the film, it apparently not focusing enough on her, and did everything in her power to crush the film before it could be released. This is utterly mystifying, as her treatment in the film is essentially positive.
Edgeplay is, in many ways, the "Clockwork Orange" of rock documentaries. From the dark, sardonic tales of excess and loss-of-innocence, to the startlingly effective and moody camera-work, (which usually annoys me, but here served a real dramatic purpose for a change), this is a film that anyone can get something out of, whether you're a Runaways fan or not.
Not as good as "End Of the Century", but a lot better than VH-1
lazarillo12 July 2006
Although I'm not a big fan of the Runaways, I'm very interested in this era of the Los Angeles music scene (being too young and stuck in Wyoming at the time). Like the big screen doc. "End of the Century" about the Ramones, this gives a good background of the scene and era and like other reviewers have said is miles ahead of VH1 canned nostalgia crap.
It was interesting to see the band members now. I always thought of Cherie Currie as a drugged-out, bleach-blonde piece of pedophile bait (who reminds me more of that uber-sleazy 70's hit "Hot Child in the City" than any song she ever personally sang). Well in middle age she looks healthy, VERY attractive, and surprisingly intelligent and well-spoken. Lita Ford is the same as she's always been, and Joan Jett was conspicuous in her absence. They interviewed pretty all the other, more obscure band members, but I would have liked them to talk more about some of the other figures in the nexus of the Hollywood music and low-budget movie scene--i.e. Cheryl "Rainbeax" Smith, a famous groupie and drive-in movie actress who sometimes played drums for Joan Jett (and died recently), and Sondra Currie, another actress and the older sister of Cherie and Marie.
The documentary was not all nostalgia though. It danced around some lurid claims of verbal and possibly sexual abuse involving the bands scummy manager. In addition, to showing how sleazy the music business can be, the documentary also shows how irresponsible parents can be in turning their children over to somebody who's supposedly going to make them famous (a moral lesson perhaps?). Mostly though this gives a good sense of the era and will probably please fans of the band. Not as good as "End of the Century" perhaps but better than anything you'll see on VH-1.
It was interesting to see the band members now. I always thought of Cherie Currie as a drugged-out, bleach-blonde piece of pedophile bait (who reminds me more of that uber-sleazy 70's hit "Hot Child in the City" than any song she ever personally sang). Well in middle age she looks healthy, VERY attractive, and surprisingly intelligent and well-spoken. Lita Ford is the same as she's always been, and Joan Jett was conspicuous in her absence. They interviewed pretty all the other, more obscure band members, but I would have liked them to talk more about some of the other figures in the nexus of the Hollywood music and low-budget movie scene--i.e. Cheryl "Rainbeax" Smith, a famous groupie and drive-in movie actress who sometimes played drums for Joan Jett (and died recently), and Sondra Currie, another actress and the older sister of Cherie and Marie.
The documentary was not all nostalgia though. It danced around some lurid claims of verbal and possibly sexual abuse involving the bands scummy manager. In addition, to showing how sleazy the music business can be, the documentary also shows how irresponsible parents can be in turning their children over to somebody who's supposedly going to make them famous (a moral lesson perhaps?). Mostly though this gives a good sense of the era and will probably please fans of the band. Not as good as "End of the Century" perhaps but better than anything you'll see on VH-1.
Not exactly a tell-all, but close enough.
michaelRokeefe26 August 2010
Warning: Spoilers
The Runaways broke down the doors for other all-female rock bands that followed. Joan Jett and Cherie Currie co-founded the group of rebels that were shaped, used and abused by music impresario Kim Fowley. The girls blazed a trail for women in general pursuing careers in rock and roll. They played loud and made no apologies for their lifestyle of sex, drugs and living wild. These teenagers literally grew up on the road and basically unchaperoned. This documentary is written and directed by Victory Tischler-Blue(who, as Vicki Blue, played bass at the time the group was imploding on itself. She describes the band's ups and downs with the aid of interviews with Currie and other group members Lita Ford, Sandy West and Jackie Fox. Fowley still comes across as a brash braggart. Jett refused to cooperate in the making of the film or its soundtrack. Personally I would love to see/hear Jett's description of life as a Runaway.
oh my god this was bad.
ireallygottago17 August 2005
I was pretty excited about this documentary. I break out Queens of Noise on a regular basis, and I would consider myself a Runaways fan. Unfortunately there's about 10 minutes of interesting footage to be seen in this documentary: a live version of rock and roll (the Lou Reed cover), and a couple early interviews including a HOTTT Joan Jett. The rest is extremely boring interviews with the rest of the runaways. While the story of the band is fascinating, some actual footage of the band playing live, or practicing, or more than a brief snippet of what had to have been a much longer interview, would have helped the story in a major way. There's totally an amazing story about an amazing band here to be told, but due to what I'm assuming was strict copyright control by Joan there is barely any Runaways music in this film. I had to play a record for my friends that were unfamiliar with the band after we watched it just so they had any idea what was going on! AND! Some of the most annoying camera work I've ever seen!! Someone must have told the camerapeople that jiggling the cameras makes interviews more realistic and interesting. If the makers of Edgeplay had any good early Runaways footage at their disposal, and if they hadn't let a chimpanzee film the interviews, this film could have been awesome.
Raw and heartwrenching. Edgeplay blew my mind. Stunning.
OffFranklin31 May 2004
I never would have thought that the behind the scenes goings on were like what was explained in this film. I always thought that these girls had it made in the shade. My head spun when I listened to Cherie Currie's depiction of life in the Runaways. But what really brought me to tears was Sandy West's struggle in life. She went from from a teen rock star to a life of crime and prison. Why? What happened to her? She was such a great drummer and had so much potential.
The ending of this film is so completely unexpected and chilling. It made me cry. It made my blood run cold. I can't recommend this film more. If you love rock and roll - see this film: Edgeplay: a film about the Runaways.
Great job Victory!!!!!!!!!!!!
The ending of this film is so completely unexpected and chilling. It made me cry. It made my blood run cold. I can't recommend this film more. If you love rock and roll - see this film: Edgeplay: a film about the Runaways.
Great job Victory!!!!!!!!!!!!
so-so
gainsbarre1328 March 2005
Though I love The Runaways very much, I didn't like this film. No Joan Jett & the lack of Runaways music definitely hurt. All you get is a pretty shitty cover of Sweet Jane & then Wild Thing. The film itself is well made but the score sucks. Kim Fowley comes across as the sleazy creep we all knew he is (gotta love a guy who can refer to a 14 year old girl as "dog s**t" or "dog c**t" oh wait a minute no not all actually), and Lita Ford keeps repeating herself. ("It all went back to that first phone call from Kim".) But then again, she's kind of lame anyway. Worth checking out, but only if you're interested in The Runaways. Not one of the great "rock 'n' roll" movies like Don't Look Back, Hard Days Night or End of the Century or something.
outstanding insight into The Runaways
hlea4219 August 2005
Very raw and revealing insight into a young band that was being abuse behind close doors. I would have loved to hear what Joan had to say, giving her take on the band to make this documentary feel complete and finally see all band mates on some level of togetherness but very surprise that everyone involved had compliments for her. Jackie seem to be the most revealing and comfortable talking about the band. There is obviously rivalry and coldest between Cherie and Lita but it sounds like they have gotten pass it with years passing or else they wouldn't have done this documentary. However, out of all the interviews the most heartbreaking and personal depth shown was Sandy's account, especially towards the end bringing me to tears, it was very touching emotionally, making her account so real that it's hard to forget the damage that was done. Also, it's sad that this band isn't recognized for it's influence in music, paving the way for female rock bands, which Vicki has done an excellent job making this of importance!
Stunning beyond description
bmeister23 August 2013
Warning: Spoilers
The Runaways 2010 movie is somewhat entertaining, but it is just that, a Hollywood movie. It takes tons of liberties with the truth, focuses on the lives of Cherie and Joan, creates aggregate characters, and leaves out some pertinent components of the Runaways history. It is a movie based on the Runaways, it is not the story of the Runaways.
The documentary Edgeplay, by latter day Runaways bassist Vicki Blue, is essential viewing, but be forewarned, this is not some bloated rock star bragging about how many chicks he laid and how many drugs he took. Today's youth likes to talk about "being real", this is as real and raw as it gets, and it is mind-bending.
The most riveting segment is the interview with Sandy West. West is driven upon release from a prison term by Fox to a location where she is interviewed by Blue. She's not fully stable, perhaps even a bit disoriented she asks for permission to smoke a cigarette, becomes emotional in discussing the demise of the Runaways and her own life after the band, and discloses elements of a harrowing criminal life, till she finally breaks down saying "I just wanted to be a drummer in a rock band." The emotional intensity is off the charts. The camera zooms in and the deep lines in her face reflect the harshness of the life she has lived.
At times, the participants ask for the camera to stop rolling, but it appears the camera continues to roll a bit. Currie, Williams (West's mom), and West all had remorse about some of what they disclosed during the taping of the movie and tried to appeal to Blue to not include certain content, so much so that West showed up at Blue's house one night high out of her mind with a gun and a thug accomplice in an attempt to get the tape back from Blue, the LAPD with police helicopters removed West, Blue didn't press charges against West, Blue fled L.A. in lived out in the desert out of fear.
The only Runaway interviewed that does not appear to have not suffered emotional damage is Ford. However, in the past couple years (after this movie was made), Ford's life has taken a bizarre twist and a whole movie could be made just about that.
I cannot overstate how compelling (and disturbing) I found this movie. I've watched it several times, it is so brutal and honest, people disclosing sins and discussing things one would expect them to take to the grave. I can understand why some, such as Joan Jett, refused to participate in the movie due to it's Springer-like qualities at times. However, on Springer, the participants are instructed to act up for the cameras, none of the participants in Edgeplay were encouraged to ham it up for the camera, which is why it is so scary. The circumstances surrounding the making of this movie and the years it took for the film to come to light is a story unto itself.
I generally disdain rock band reunions, find them almost pathetic, but I think the Runaways situation is an exception, and it would be in their best interest to reunite, although Sandy is unfortunately no longer alive. With the renewed interest in the Runaways in the aftermath of Edgeplay, the Runaways movie, and Currie's Neon Angel book, history pertaining to how they were received in 70s is being altered a bit, as if the Runaways were a huge commercial success with critical acclaim heaped upon them. But the Runaways were laughed at and treated derisively in more circles than they were admired in during their time. When I revisit their albums today, they are astounding, particularly when considering they were recorded by 16 & 17 year old musicians on limited budgets, and provide a bridge and glimpse into what was approaching on the music scene. Their first two studio albums and Live in Japan were released before the Sex Pistols "Never Mind the Bullocks". A reunion (if done correctly) would allow them to stake their claim in rock history they so richly deserve that they were denied in the 70s. Also, the Runaways did not make a lot of money during their initial career, a reunion could bring them a windfall of money, that in all fairness, they deserve. (Although I think they're all multimillionaires now anyway). If it is to happen, it would have to be soon, as the clock is ticking.
Sorry for going a bit off track, back to Edgeplay. If you are looking for the traditional trite schlock rockumentary with clips of hit songs and musicians falling all over each gushing with praise, you're not going to find it Edgeplay. There isn't even any Runaways music in it because the rights were withheld (by Jett I believe). I can't think of anything like it I've ever seen for comparison. It is stunning beyond description. I strongly recommend.
The documentary Edgeplay, by latter day Runaways bassist Vicki Blue, is essential viewing, but be forewarned, this is not some bloated rock star bragging about how many chicks he laid and how many drugs he took. Today's youth likes to talk about "being real", this is as real and raw as it gets, and it is mind-bending.
The most riveting segment is the interview with Sandy West. West is driven upon release from a prison term by Fox to a location where she is interviewed by Blue. She's not fully stable, perhaps even a bit disoriented she asks for permission to smoke a cigarette, becomes emotional in discussing the demise of the Runaways and her own life after the band, and discloses elements of a harrowing criminal life, till she finally breaks down saying "I just wanted to be a drummer in a rock band." The emotional intensity is off the charts. The camera zooms in and the deep lines in her face reflect the harshness of the life she has lived.
At times, the participants ask for the camera to stop rolling, but it appears the camera continues to roll a bit. Currie, Williams (West's mom), and West all had remorse about some of what they disclosed during the taping of the movie and tried to appeal to Blue to not include certain content, so much so that West showed up at Blue's house one night high out of her mind with a gun and a thug accomplice in an attempt to get the tape back from Blue, the LAPD with police helicopters removed West, Blue didn't press charges against West, Blue fled L.A. in lived out in the desert out of fear.
The only Runaway interviewed that does not appear to have not suffered emotional damage is Ford. However, in the past couple years (after this movie was made), Ford's life has taken a bizarre twist and a whole movie could be made just about that.
I cannot overstate how compelling (and disturbing) I found this movie. I've watched it several times, it is so brutal and honest, people disclosing sins and discussing things one would expect them to take to the grave. I can understand why some, such as Joan Jett, refused to participate in the movie due to it's Springer-like qualities at times. However, on Springer, the participants are instructed to act up for the cameras, none of the participants in Edgeplay were encouraged to ham it up for the camera, which is why it is so scary. The circumstances surrounding the making of this movie and the years it took for the film to come to light is a story unto itself.
I generally disdain rock band reunions, find them almost pathetic, but I think the Runaways situation is an exception, and it would be in their best interest to reunite, although Sandy is unfortunately no longer alive. With the renewed interest in the Runaways in the aftermath of Edgeplay, the Runaways movie, and Currie's Neon Angel book, history pertaining to how they were received in 70s is being altered a bit, as if the Runaways were a huge commercial success with critical acclaim heaped upon them. But the Runaways were laughed at and treated derisively in more circles than they were admired in during their time. When I revisit their albums today, they are astounding, particularly when considering they were recorded by 16 & 17 year old musicians on limited budgets, and provide a bridge and glimpse into what was approaching on the music scene. Their first two studio albums and Live in Japan were released before the Sex Pistols "Never Mind the Bullocks". A reunion (if done correctly) would allow them to stake their claim in rock history they so richly deserve that they were denied in the 70s. Also, the Runaways did not make a lot of money during their initial career, a reunion could bring them a windfall of money, that in all fairness, they deserve. (Although I think they're all multimillionaires now anyway). If it is to happen, it would have to be soon, as the clock is ticking.
Sorry for going a bit off track, back to Edgeplay. If you are looking for the traditional trite schlock rockumentary with clips of hit songs and musicians falling all over each gushing with praise, you're not going to find it Edgeplay. There isn't even any Runaways music in it because the rights were withheld (by Jett I believe). I can't think of anything like it I've ever seen for comparison. It is stunning beyond description. I strongly recommend.
A film that does not do justice to it's subject
tinycat18 August 2005
Warning: Spoilers
I missed the original airing of this on Showtime, so I checked it out on Showtime on demand. I was pretty young when the Runaways had their climb to success and subsequent fall. But when I was old enough I picked up the records at a local record shop. Novelty or not, I loved the music.
Because of my love of the music, I looked forward to this movie. The story of the Runaways is a classic rock and roll soap opera, a story worth telling. Unfortunately, Victory Tischler-Blue, once known as Vicki Blue one of the bassists for the Runaways, was not the right person to tell it. At least, this movie leads me to that conclusion. Edgeplay tells us more about the dangers of digital video editing software in the wrong hands than it does about the Runaways.
Tischler-Blue's editing leaves much to be desired. In more than one interview she leaves in the interviewers asides. In an apparent attempt at comedy we get to hear Lita Ford announce that she has to pee. Jackie Fox asks if they can take a break but the camera keeps rolling and the awkwardness she hoped to avoid still makes it to screen. Tischler-Blue also fails to make the decisions that would keep her movie from dragging on and save us from needless repetition. She approaches the film in a way that might work on an episode of the Real World or Maury Povich, complete with cheesy cut scenes and b-roll footage, but not in a serious documentary.
Joan Jett does not contribute to this movie. This has made her an easy target for critics and viewers looking for an explanation for the film's short comings. But after seeing this movie I am certain that, whatever her reasons, Jett made the right decisions. Maybe someday we will get to see a documentary where she contributes.
Because of my love of the music, I looked forward to this movie. The story of the Runaways is a classic rock and roll soap opera, a story worth telling. Unfortunately, Victory Tischler-Blue, once known as Vicki Blue one of the bassists for the Runaways, was not the right person to tell it. At least, this movie leads me to that conclusion. Edgeplay tells us more about the dangers of digital video editing software in the wrong hands than it does about the Runaways.
Tischler-Blue's editing leaves much to be desired. In more than one interview she leaves in the interviewers asides. In an apparent attempt at comedy we get to hear Lita Ford announce that she has to pee. Jackie Fox asks if they can take a break but the camera keeps rolling and the awkwardness she hoped to avoid still makes it to screen. Tischler-Blue also fails to make the decisions that would keep her movie from dragging on and save us from needless repetition. She approaches the film in a way that might work on an episode of the Real World or Maury Povich, complete with cheesy cut scenes and b-roll footage, but not in a serious documentary.
Joan Jett does not contribute to this movie. This has made her an easy target for critics and viewers looking for an explanation for the film's short comings. But after seeing this movie I am certain that, whatever her reasons, Jett made the right decisions. Maybe someday we will get to see a documentary where she contributes.
Surviving the '60's & '70's - have things really changed?
ctodd100011 September 2008
"'Jail bait' rockers The Runaways tell their own tale -- their hopes, dreams and eventual implosion due to incessant media hectoring, infighting among the band members and chronic drug use. Directed by Victory Tischler-Blue, the film shows what it was like for six teenage girls to gain notoriety in an era hostile to female musicians. Includes live performances, a special appearance by Suzi Quatro and new songs by Quatro and Lita Ford."
Note the most important line in this review from Netflix: "shows what it was like for six teenage girls to gain notoriety in an era hostile to female musicians."
Finally, someone who is telling it like it was. That's it in a nutshell. Thank God (some of) those times have changed... on second thought, have they? The whole new crop of girls have probably gone through exactly the same thing. Christina Aquilera, Britney Spears, Beyonce, Rhianna, what's the difference, really? Some things never change. And worst of all, we do it to ourselves. We imprison OURSELVES. We buy in to the promise of "fame and fortune," and to "be somebody." That's all it takes for the devils of the world - the Kim Fowley's of the world - to capture one's soul and "make them mine."
Fowley was their notorious manager who practically destroyed these girls, stole their money, hearts and soul... yet these girls have somehow managed to survive. Bravo to them for telling their true tale even at this late date. The truth will set you free!
Pretty incredible film. Glad I never got trapped; at least not in that world. I escaped by the skin of my teeth and the Grace of God and all the angels above. Somehow I made a slightly different choice and somehow survived. All it took was "NO" at the moment of truth, the moment of commitment, and the Devil had no hold. And then some pretty fast running! Hahahahahah to all the Kim Fowleys of the world - and a big middle finger holding straight up!
Ten stars for this film, and the women themselves have my GREATEST ADMIRATION. Bravo to you ALL!
Note the most important line in this review from Netflix: "shows what it was like for six teenage girls to gain notoriety in an era hostile to female musicians."
Finally, someone who is telling it like it was. That's it in a nutshell. Thank God (some of) those times have changed... on second thought, have they? The whole new crop of girls have probably gone through exactly the same thing. Christina Aquilera, Britney Spears, Beyonce, Rhianna, what's the difference, really? Some things never change. And worst of all, we do it to ourselves. We imprison OURSELVES. We buy in to the promise of "fame and fortune," and to "be somebody." That's all it takes for the devils of the world - the Kim Fowley's of the world - to capture one's soul and "make them mine."
Fowley was their notorious manager who practically destroyed these girls, stole their money, hearts and soul... yet these girls have somehow managed to survive. Bravo to them for telling their true tale even at this late date. The truth will set you free!
Pretty incredible film. Glad I never got trapped; at least not in that world. I escaped by the skin of my teeth and the Grace of God and all the angels above. Somehow I made a slightly different choice and somehow survived. All it took was "NO" at the moment of truth, the moment of commitment, and the Devil had no hold. And then some pretty fast running! Hahahahahah to all the Kim Fowleys of the world - and a big middle finger holding straight up!
Ten stars for this film, and the women themselves have my GREATEST ADMIRATION. Bravo to you ALL!
25 years after the Runaways split up--and the complaints keep coming...
moonspinner5519 August 2015
Nobody involved in or with the seminal 1970s hard rock group the Runaways has the same story or can agree on anything. This documentary, filmed by Victory Tischler-Blue, herself a Runaways bassist from 1977-1978, catches the insecurity of the band members now (interviewed separately) as they somewhat trepidatiously dig up the past. Why not bring everyone together in the same room and let them hash things out among themselves? Founding member Joan Jett is only seen in archival footage (much of it lifted from a television special chronicling the band's 1977 tour of Japan); Jett wanted no part of this endeavor and, indeed, would not consent to her music being used. One might think Jett, the most successful member of the band, would have at least two cents' worth of an opinion here, but apparently she was holding out for a dramatized Runaways movie (which came to pass in 2010). Members Cherie Currie (lead vocals), Lita Ford (lead guitar), Jackie Fox (bass), Sandy West (drums, now deceased) and manager Kim Fowley recall a few of the messier incidents in the band's history--and yet, in almost polite terms. Everyone is being very careful what they say. Perhaps the shadow of Jett was looming large on the project, causing the others to duck and cover. ** from ****
Now, this is a documentary...
lambiepie-225 August 2005
Let me be honest before expressing my thoughts publicly: Not only was I a big fan of "The Runaways", but I had the opportunity to meet Sandy West and Joan Jett and Kim Fowley on my first trek out to Los Angeles, California in the 80's and working with musicians who worked with ... each other. So my views many read a bit biased - but I am a fan first above all else.
Let me point out what is very important to all who ever see this documentary - is that "The Runaways" were, are and always will be -the first female rock band that garnered attention and pricked up the music business ears that females can have a band, can ROCK and are well trained to do so.
When the Go-Go's and The Bangles came out, I am sorry, I always saw them as second best and in the case of musicianship - very manufactured. The Runaways rocked and that was so important to open the doors to other female musicians that followed after them and did the same.
This documentary gets into documenting 'The Runaways' and what they went through in five years. Although at times in the film I felt they held back on much that I remember happening to them at the time that they did not wish to get into, they went through enough to let you know. I am extremely proud of Vicki Blue (yeah, I know!)doing this project BEFORE others who may have more more money or other ambitions get hold of these ladies lives and do it. This is the keeper.
The Runaways were SO ahead of their time. Each of them...and as a group. It is stated that "someone has to be first" and in doing so "doesn't get the recognition they deserve". I hope this documentary spurs new dialog and recognition about them. The Runaways are a triumph and a tragedy and this documentary gives you pause to think about each of it. And you should.
These are a talented group of women who were brought together for a nice idea and got abused all the way. As a teen, you only want to do what is best...and for many of them it was the music. Here you learn just how much goes into this and what seeps in to push and break personalities, egos, mental health, family, residuals, sexual health, etc. in this entertainment industry.
These ladies need to be in the Rock and Roll Hall of Fame before anyone else (Hear me, Jan?!?!?!)that is the least that should be done.
Next, this documentary should be nominated for an Academy Award. The RAW techniques in film documentaries are here, and it places a document of a time, a place and lives that HAS happened. Raw emotion, raw nerves and even the "forgetting" of memories. This is a clean documentary done in the "old fashioned way" -- as a documentary.
A reunion tour? Well, that is quite clearly up to each of these ladies. It's their decision to do it...and WHAT they would do it for. Could be the greatest thing on earth...and then, could be a major faux pas in this day and time for promoters, et al. because of the past feelings, etc. It's all be up to them. But these women should be very smart by now and know whats coming before they get into it.
Regardless, this documentary is the one to see and get an understanding. Bless them all.
Let me point out what is very important to all who ever see this documentary - is that "The Runaways" were, are and always will be -the first female rock band that garnered attention and pricked up the music business ears that females can have a band, can ROCK and are well trained to do so.
When the Go-Go's and The Bangles came out, I am sorry, I always saw them as second best and in the case of musicianship - very manufactured. The Runaways rocked and that was so important to open the doors to other female musicians that followed after them and did the same.
This documentary gets into documenting 'The Runaways' and what they went through in five years. Although at times in the film I felt they held back on much that I remember happening to them at the time that they did not wish to get into, they went through enough to let you know. I am extremely proud of Vicki Blue (yeah, I know!)doing this project BEFORE others who may have more more money or other ambitions get hold of these ladies lives and do it. This is the keeper.
The Runaways were SO ahead of their time. Each of them...and as a group. It is stated that "someone has to be first" and in doing so "doesn't get the recognition they deserve". I hope this documentary spurs new dialog and recognition about them. The Runaways are a triumph and a tragedy and this documentary gives you pause to think about each of it. And you should.
These are a talented group of women who were brought together for a nice idea and got abused all the way. As a teen, you only want to do what is best...and for many of them it was the music. Here you learn just how much goes into this and what seeps in to push and break personalities, egos, mental health, family, residuals, sexual health, etc. in this entertainment industry.
These ladies need to be in the Rock and Roll Hall of Fame before anyone else (Hear me, Jan?!?!?!)that is the least that should be done.
Next, this documentary should be nominated for an Academy Award. The RAW techniques in film documentaries are here, and it places a document of a time, a place and lives that HAS happened. Raw emotion, raw nerves and even the "forgetting" of memories. This is a clean documentary done in the "old fashioned way" -- as a documentary.
A reunion tour? Well, that is quite clearly up to each of these ladies. It's their decision to do it...and WHAT they would do it for. Could be the greatest thing on earth...and then, could be a major faux pas in this day and time for promoters, et al. because of the past feelings, etc. It's all be up to them. But these women should be very smart by now and know whats coming before they get into it.
Regardless, this documentary is the one to see and get an understanding. Bless them all.
The Runaways, the most underrated band of all time
BenTramerLives7830 October 2020
This documentary details the rock and roll turmoil of the all girl rock band The Runaways. The band featured future superstars Lita Ford and Joan Jett when they were teenagers. The band definitely made an impression ( they were huge in Japan) yet they never got the credit they deserved.
Tensions within the band and with manager Kim Fowley eventually led to their demise in 1979. This documentary, directed by bassist Vicki Blue, is a very well made film and is a must see for music fans.
Tensions within the band and with manager Kim Fowley eventually led to their demise in 1979. This documentary, directed by bassist Vicki Blue, is a very well made film and is a must see for music fans.
Disappointing
ytt_rhiannon29 March 2010
This is a bogus piece of crap. Joan Jett started this band, it was her idea and her baby. Vicky Blue is a spiteful bitch and she produced nothing more than a Jerry Springer outtake of a great band that she successfully portrays as whiny little girls. I thank the gods that Joan Jett didn't participate in this as I am certain that she would not allow any use of Runaways music in it, instead we are stuck with Suzi Quatro music having nothing to do with The Runaways. Don't waste your money on this it is a rip off, as a huge fan of this band I found this to be a very misleading and an offensive movie. It had nothing at all to do with the music and the things they did as musicians. This was a huge disappointment for me and unless you want to watch a bunch of grown women bitch and complain about each other is it worth anything more than, well, nothing. I grew up listening to The Runaways and I was so excited when I heard this was being made only to realize that it is a huge flop. Vicki even edited out the few nice things that, the usually negative Lita Ford, had to say about Cherie leaving the band and they should've taken a break. Don't waste your time or your money, I am glad that all I did was waste 110 minutes of my life watching this train wreck, I thankfully didn't buy it and wouldn't give a dime to Vicki Blue for this piece of crap. The only thing I walked away from this learning is that Lita is still a bitch and I am even less of a fan than I already was. Don't buy it or support it in any way if you are a fan of the band because there is no Runaways music in it and thankfully no Joan Jett, she is too classy for anything as distasteful as this garbage. Don't be fooled by the title, no Runaways music and no Joan Jett it is just no good!
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