"Crossroads" (1986)
Review by Marshall Garvey
Rating (0 to 5): ***1/2
Credits:
Directed by Walter Hill
Written by John Fusco
Produced by Mark Carliner
Original music by Ry Cooder
Columbia Pictures
99 minutes
Rated R
Cast: Ralph Macchio (Eugene Martone), Joe Seneca (Willie Brown), Jami Gertz (Frances), Robert Judd (Scratch), Joe Morton (Scratch's Assistant), Steve Vai (Jack Butler), Dennis Lipscomb (Lloyd), Tim Russ (Robert Johnson)
When my best friend eagerly lent me "Crossroads," I wasn't quite sure what to expect. Despite my reverence for Eric Clapton, I do not currently possess the knowledge of classic blues that I should have. Nonetheless, when the film opened with a flashback segment of the legendary Robert Johnson (Tim Russ) cutting "Crossroads Blues," I felt a sense of excitement. Directed by Walter Hill and scored by Ry Cooder, the picture is so fully wrapped in the magic and mystery of the blues that it is somewhat hard to resist. It isn't a great film, and some may overlook it and simply say: Hey, the karate kid is playing blues guitar! None of that matters, however, as the picture's charm is so prevalent that one can't help but sit back and simply enjoy it. Most of all, it makes me want to explore the world of classic blues, which is probably the best thing it could do for a viewer, at least from my standpoint.
The film's story follows the journey of an aspiring Long Island blues guitarist named Eugene Martone (Ralph Macchio), who worships Robert Johnson and can skillfully rattle off tunes on his guitar. He attends a school of classical music, where he plays Mozart with equal expertise, although he consistently bothers his teacher by finishing solos with a little twist of the blues. Through research and endless book reading, Eugene manages to track down the legendary Willie Brown (Joe Seneca), an old acquaintance of Johnson who now resides in a senior home. Martone, posing as a janitor at first, approaches the grizzled old man about a mystery. You see, Johnson was originally set to cut 30 songs, but only did 29 before his death. With dreams of blues greatness in mind, Eugene claims he wants to learn and play this "lost song" himself.
Now, Willie is disbelieving of Eugene at first. However, he strikes up a deal: Martone gets him out of the senior home, and he'll take the cocky young man down to Mississippi to learn the mysterious ways of the blues. Eugene agrees, and before long they're trekking down Highway 61 itself. Along the way, they meet a feisty runaway named Frances (Jami Gertz), who predictably finds romance with Eugene. All the while, Willie is haunted by a deal he made at the crossroads long ago. And I'll stop right there before I give it all away.
One will often find a film whose success lies almost entirely in a single performance. Viewing "Crossroads," I got that feeling watching Joe Seneca's compelling turn as Willie Brown, as it is difficult to envision anyone else filling the role. Seneca is quite simply the best thing about the entire film, with an emotional and knowing demeanor that makes his performance both haunting and deeply touching. He also has some of the movie's best lines ("Muddy Waters invented electricity," he says when coaxing Eugene to switch from acoustic guitar to electric.). Seneca shares some vibrant chemistry with Ralph Macchio's Eugene, who is likeable on his own but is unquestionably best when clashing personalities with the enigmatic Brown. The pairing of the two is certainly modeled after the duo of Macchio and Pat Morita in "The Karate Kid," although the film can't quite be faulted for that. After all, even though the inspiration is obvious, "Crossroads" does such an excellent job approaching its lead characters that it deserves to be looked upon by itself, and not as the shadow of a previous picture.
It would be a more than fatal flaw for "Crossroads" to fail musically, which, needless to say, it doesn't. Magnificently scored by the great Ry Cooder, the movie is so entertaining in that department that one only has to sit back and listen. If anything, the true musical highlight comes in the marvelous climax, which is marked by a guitar duel so quick you may find yourself on the edge of your seat.
Do I have any complaints about "Crossroads"? I'm not sure. In retrospect, the romance between Frances and Eugene didn't seem too powerful, but I truly can't find any reason to gripe. All in all, the picture is simply enjoyable, and worthy of a viewing whether you are a blues connoisseur or a person who is admittedly less knowledgeable of the genre. However, it is perhaps likely that one of the latter may become one of the former after watching "Crossroads" (I myself am enjoying Robert Johnson as I write this review. I'll give you three guesses as to which song it is.).
Rating key:
*****-A masterpiece of filmmaking that should be seen at all costs. Kill for a ticket or copy if you must. ****1/2-Oustanding. Don't miss it. ****-Excellent show. Be sure to catch it. ***1/2-A good film. You don't have to rush to see it, but it's worth viewing. ***-A decent movie. Good for a rainy day. **1/2-Just plain average. **-Pretty lame. It'll fade from memory as you drive home from the theater. *1/2-Bad. Just skip it. *-Simply awful, and worthy of a refund. 1/2-Boycott it. 0-Life will seem shorter and less joyful.
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