Releasing Your Inner
Michael Feinstein-Amy Adams and Alec Newman’s “Moonlight Serenade” (2009)-A
Film Review
[Occasionally a reader
will write in asking how a particular staff member gets an assignment for a
particular film. In short has an interest in learning about the inner working
of an on-line operation where most of us are not in the same room together making
decisions. Most of the time it is pretty straight forward. Films get handled by
Sandy Salmon and Alden Riley with Sandy taking the older films that he would
have maybe watched when he was younger and Alden the more current films.
Although one time earlier this year I overrode Sandy and “forced” Alden to
watch and write a review on a documentary about the first Monterey Pops
Festival in 1967, the year of the Summer of Love out in San Francisco which we
promoted the 50th anniversary of heavily this year, when he told
Sandy that he did not know who Janis Joplin was. I still bristle at that since
Monterey in 1967 was where the ill-fated snake-bitten Janis made her smash
break-through. But that is the exception.
Another exception is the
reviewer of the film here Moonlight
Serenade where Seth Garth who usually handles music reviews got the nod
from Sandy since neither he, a child of rock and rock in his youth, nor Alden
much more attuned to hip-hop and techno-rock had a clue about the American
Songbook Tin Pan Alley style. Knowledge of that genre for this film is critical
and so Seth drew the assignment. Pete Markin]
******
DVD Review
By Seth Garth
Moonlight Serenade,
starring Amy Adams, Alec Newman, Harriet Samson Harris, 2009
My old high school
friend and fellow corner boy down in Carver, down in cranberry country in
Southeastern Massachusetts, Gilbert Rowland used to kid me mercilessly about my
knowing more of the American Songbook than he could ever dream of. He did not
know that term “American Songbook” but what he meant was clear. Although I, he,
we were indeed children of rock and roll (and it off-shoot the blues a little
later and still later folk music during that folk minute in the early 1960s) I
knew, would hum or sing what were essentially show tunes, tunes created by
those who inhabited mythical Tin Pan Alley like the Gershwin Brothers, Jerome
Kern, Irving Berlin, Cole Porter, Rodgers and Hammerstein and the like to the
jeers of the corner boys who only cared about what the latest Chuck Berry
composition was about, whether Jerry Lee’s High
School Confidential was youth nation of the time’s national anthem or
whether Bill Haley and the Comets still jumped after Rock Around The Clock. Stuff like that not “sissy” (he, they used a
more derogatory word than that but you get the drift) music like our parents
might like-or even know about since the heyday for most of that was in their 1930s
and 1940s growing up times. Don’t ask me
how I came by it, maybe hearing it on a vagrant radio station sometime up in my
room listening to music on my transistor radio and it stuck, but it was surely
not around the house much since I was after certain young age not around the
house much.
But enough of genesis
and get to the why of this assignment since I don’t usually do film reviews.
This Moonlight Serenade (title from an
old Glen Miller smash hit back in the long ago day) is a quirky little movie
that is both a romantic comedy of sorts and a semi-musical since the three main
characters are ready to sing at the drop of a hat (and maybe with less
prompting). Nate, played by Alec Newman, is nothing but an up and coming Wall
Street money manager who has along with his associate Angelica, played by
Harriet Samson Harris been selling “short” as a strategy for making tons of
money for their clients and plenty of commissions for themselves. Not a strange
phenomenon in 2000s New York City. What is slightly, no more than slightly,
askew is that Nate is a denizen of a jazz club and also a more that fair piano
player which is how he gets his relaxation after those hard-boiled hours hustling
stocks around the clock. What Nate plays is not some Jerry Lee made rock and
roll piano and not even Fat Domino since no way was he a child of rock and roll,
way too young, but the old Broadway and cabaret show tunes made famous by the
likes of Billie Holiday and Mabel Mercer and written by Tin Pan Alley legends
like Cole Porter, Jerome Kern, the Gershwins and the like.
That high strung money
manager versus his inner Michael Feinstein, the fairly recent famous cabaret
performer of this kind of music, is what drives the Nate end of the plotline.
Enter Chloe, played by fetching Amy Adams, a hat-checker (formerly hat check
girl but that is passé now) at that jazz club Nate frequents and who turns out
to be a struggling torch-singer in the mold of Peggy Lee it appears whose
paramour and piano player is some strung out junkie. They “meet” while he is
singing a song in his open window apartment and she is walking along the
sidewalk below and begins a duet (the drop of a hat phenomenon). When they
actually do meet though they are frosty, or rather she in the throes of what to
do about that junkie boyfriend is, and standoffish although you could tell from
minute one that they would hit the satin sheets before long-and they did.
What Chloe needed was a
big change and eventually got it at that jazz club when Nate who has been
providing the owner with good stock tips for this portfolio gave her a break.
Smash home run hit. Except two things are amiss. Nate is torn about taking stab
at making a musical career and tearing up Wall Street with his expertise and
Chloe has to confront what to do about that junkie boyfriend. In the end you
know what happened-or can guess. Here is the big problem for me though having
first seen Ms. Adams doing her torch-singer thing in Miss Pettigrew Lives For A Day burning up the screen with her
version of the old Inkspots’ tune If I
Didn’t Care which even I recognized was one of the best versions ever done
on that number. Either the song selection here was wrong although there were plenty
of can-do Cole Porter tunes which Billie Holiday hit out of the park or Chloe’s
jaunty way of performing them was off but except for one torch she didn’t ready
hit the mark in the music department. He was off as well although Nate never
claimed to be the cat’s meow as a singer. Maybe having imbibed this stuff
third-hand (at least given their ages that seems right) their New York 2000s
sensibilities saw the tunes differently. Still a good film to hear those old
classics getting a workout and seeing the chemistry develop between Nate and
Chloe.
