American Hot Wax (1978)

Such a frustrating disappointment

As Good As It Gets

It's easily one of the freshest, sharpest and most enjoyable films of this year.

A clunky actioner with a handful of cool moments.

I first saw this movie in theaters when I was 9 years old, and because I was so totally blown away by the entire production, especially Tim McIntire's portrayal of Alan Freed, that I ended-up falling in love with, not only the movie, but the entire genre of Rock n' Roll music of the mid 50's-early 60's, and I still feel the same way today. After I eventually found an 8 track tape to the soundtrack of American Hot Wax in 78', which included all the great artists and groups, performing the great music featured in the movie. I played that tape, over-and-over again until I wore it out. Or, until 8 track tapes eventually became obsolete a few years later, I can't remember which. The only reason this movie doesn't receive a 10 from me, is that it takes some dramatic liberties with the actual dates and locations of some important events of the time the movie is suppose to be representing. Like the year that Buddy Holly died, {Spoiler Alert} and the location of the theater where the movies climatic Rock n' Roll show actually took place(hint:it was actually in Boston not Brooklyn, NY) which led to Alan Freed being charged with inciting a riot, and eventually caused him to declare bankruptcy. Yet, despite these rather obvious factual errors to anyone who knows their Rock n' Roll history, American Hot Wax is as fun and exciting as any Rock n' Roll musical that's ever been produced, without having any of the characters dance and sing directly to an audience, that characters would never do unless they knew they were in a movie. While it's difficult to know for sure why a terrific movie like American Hot Wax had such dismal box office returns, and has been kind of forgotten about over the years. Fortunately, for me, I was able to watch the movie in a theater when it was initially released, and was such a wonderful amazingly joyous experience that I never forgot the moment, or the movie, which is one of several reasons American Hot Wax still remains one of my all time favorite little known gems today.

What a great character study where the music itself plays an essential role.We are treated to several scenes where the creative process of producing a rock and roll classic is depicted. Sure, they take a few liberties with history, but the essence of the music and the era is so true to life. Casting a recording studio veteran (Richard Perry) as the producer who finally coaxes "Come and Go With Me" out of an inexperienced group of singers was film-making genius.Lorraine Newman as Teenage Louise was an obvious recognition of the accomplishments of Carole King.Including performances by Chuck Berry, Jerry Lee Lewis and Screamin' Jay Hawkins added an air of authenticity to the climatic concert in Brooklyn.Tim McIntire's performance as Alan Freed captured the pioneer disc jockey's habit of tapping the beat of the songs with a pencil in the broadcast booth.The singers portraying The Chesterfields make another appearance in Floyd Mutrux's 1980 comedy riot "The Hollywood Knights" along with Fran Drescher and Moosie Drier. And lets not forget a very young Jay Leno as Mookie, Alan Freed's driver.A wonderful film that deserves a legitimate DVD release with all the extras. Let's solve those music royalty issues and get this movie out to the public.

"American Hot Wax" just might be the best movie ever made about rock 'n' roll. Portraying disc jockey Alan Freed (Tim McIntire) in 1959, the movie knows how to lay everything out perfectly. Watching it, I just wanted to get up and start singing with the groups portrayed. Of course, the best part is the concert at the end. Not only do several musicians from the era (playing themselves) perform at it, but when the authorities try to shut it down, Freed reminds them: "You can shut the concert down. You can shut me down. But rock 'n' roll will live forever!" Well, as we've seen, he was right - most people love rock 'n' roll, and the people who ranted against it are objects of mockery. And the movie affirms that. Among the other cast members are Jay Leno as chauffeur Mookie, and Laraine Newman as Teenage Louise (based on Carole King). All in all, this is one movie that will truly make you nostalgic for the era of poodle skirts, pompadours, and everything such. I really wish that I could have been there.

Late, great, sorely undervalued character actor supreme Tim McIntire, who supplied the stingingly sardonic voice of the vicious canine Blood in the sci-fi post-nuke pip "A Boy and His Dog" and was also a singer/songwriter who did several flavorsome folk ballads for the Western "Jeremiah Johnson" before he died of a heart failure at the shockingly young age of 42, excels in a rare starring role, delivering a fabulously moody and sharply delineated portrayal of pioneering 50's rock'n'roll disc jockey Alan Freed. Freed was one of the first genuine rock music rebels (he was constantly at loggerheads with killjoy censors and unsympathetic radio station executives), the man largely credited with coining (or at least popularizing) the expression "rock'n'roll," the key player who initially made allegedly "forbidden" music recorded by black artists accessible to white middle class kids, and, sadly, one of rock's early untimely victims who took a heavy fall during the notorious 1960 payola scandal and subsequently degenerated into a lonely, forgotten, penniless alcoholic. Director Floyd Mutrux's vibrant, loving, sweetly nostalgic cinematic valentine to Freed and the electric, joyously innocent 50's rock scene recreates this magical era with meticulous care and tremendous affection. William A. Fraker's bright, sparkling cinematography imbues the lively proceedings with an eye-filling array of hazy colors. Fran Drescher as Freed's loyal, irritable secretary and Jay Leno as Freed's always joking wiseguy chauffeur provide broadly funny comic relief. Lorraine Newman gives an endearing performance as a Carol King-like aspiring songwriter. Screamin' Jay Hawkins, Chuck Berry and Jerry Lee Lewis all appear as themselves in the raucously thrilling concert finale. "Fast Times at Ridgemont High" author Cameron Crowe, veteran session vocalist Brenda Russell, and New Orleans rhythm and blues singer Frankie "Sea Cruise" Ford pop up in cameo roles. Granted, the film does suffer somewhat because of John Kaye's erratically plotted and historically inaccurate script (50's and 60's rock songs and performers are all meshed together into a rather preposterous mishmash), but that's a minor debit in an otherwise fine and hugely enjoyable rock movie biopic.