WALK HARD: A REVIEW

WALK HARD THE DEWEY COX STORY (2007)

This is a rather heavy-handed satire. It’s directed by a Mr. Jake Kasdan. Those moviegoers who can remember SPINAL TAP  will have some idea of where this flick fits in the film scheme of things.

There was a rock-n-roll song that came out in the ’70s, as I recall, that contained the lyrics: “drugs and sex and rock-n-roll.” It was the heart of the song–a sort of mantra. These words also form the essential ingredients that are present almost from beginning to end. Further, there is a progression from what might be dubbed “infancy” to “senior citizen” in each category of essentials.

Therefore, the moviegoer witnesses what might be thought of in retrospect as innocent naughtiness progress to nakedness and simulated sex later in the film. In regard to drugs the progression moves from alcohol to marijuana to touch base with most of the drugs that surfaced and became widely used in the ’60s, ’70s, and ’80s. Lastly, the music followed from the initial pop to blues to rockabilly to various experiments in rock-n-roll, while touching on disco, Motown, Folk, Punk, and on and on and on.

All this being so, the film takes on a sort of historical dimension–at least within this slice of American culture.

I thought that John C. Reilly did a good job. At times he seemed inspired. Whether or not he actually sang his songs or lipped-sync, I can’t say. I’d bet my money on lip-sync, although, here and there, he may have actually sung. That he did a good job is quite important because he dominates this film from beginning to end. He has a lot of supporting actors/actresses. Among these are: Jenna Fischer (“Darlene Madison”), Raymond J. Barry (“Pa Cox”), Kristen Wiig (“Edith”), Margo Martindale (“Ma Cox”). Most of these were tolerable to effective supports.

Does that make this film at least a pretty good movie? Please recall my initial words: “heavyhanded.” Sometimes it works and sometimes it doesn’t. This is to be expected in a film where almost everyone and everything in this facet of America is targeted. Launching a fusillade of satiric harpoons will certainly hit the mark on occasion. Hence, I sometimes laughed, and at other times felt ill at ease at what I was witnessing. To witness frontal nudity in movies is not my thing [nudist colonies need not send me an invitation]. Once relegated to seedy, pornographic flickshops, nudity is now viewed regularly in films. For many it is a gauge of their maturity and sophistication. Others, pointing to classic statuary, make pretense to High Art in regard to such scenes, regarding each figure with a detached, discriminating air. Mr. Kasdan may be one of these, as he directs the camera to linger a bit long on such shots.

John C. Reilly plays a man named “Dewford Randolph Cox.” This is the legendary figure [based on a "true" story!!!] named “Dewey Cox.” He was born about 1938 in Springberry, Alabama, and died 2007, according to the movie. At one point there is a cut to 1953, where the moviegoer sees John C. Reilly for the first time as Dewey Cox and is informed that he is 15 years old! One look at him and one knew immediately that a farfetched “biography” was just around the corner. There is a 12 year old woman [Kristen Wiig, who looks to be in her 30s] who is a cousin, as I recall, who promptly marries Dewey. This whole business points to Jerry Lee Lewis (“The Killer”), who married his 14 year-old cousin in the ’50s in Memphis, Tennessee.

Indeed, this film is built upon picardesque vignettes which touch on incidents involving well-known musicians/singers.

Storyline: An Alabama family in the ’40s experience a tragedy when one son cuts the other in half with their father’s machete. The death of the talented son (Nathan) was a bitter blow to the father, who expected great things from this boy. He focused his bitterness on the other son, Dewey, stating: “The wrong son died.” The gifted Nathan had sworn his brother Dewey to do great things for the both of them. By chance Dewey learned to play the guitar from a couple of Black men (David “Honeyboy” Edwards, singer/guitarist) singing Blues in a general store. The lad was talented. Later, he was to “wow” the locals at a talent contest hosted by Springberry. However, not everyone was happy and fights broke out. The community was divided by Dewey’s music, and his dad threw him out of the house. He took his 12-year -old wife with him and found a job cleaning up at a Black “erotic dancing” club, where he learned all the songs & music being played by the featured club singer & band. Naturally, this led to his “big break.” Accepted by the discriminating Black audience, Dewey was noticed by three Hasidic Jews who were scouting talent for a music company. They arranged for Dewey to get his first studio try-out. Meanwhile, he had just composed his first original song, while experiencing domestic discord as the multi-babybearing wife belabored him in regard to getting a good job and helping with the babies. At the studio he was failing until, just as a favor to the three Jews [Wise Men?],  he was given another 15 seconds to sing. He sang his new composition: “Walk Hard.” Smasho! He song was instantly out and went to the top. From this point forward the movie follows Dewey’s ups & downs over four decades of evolving music and singing styles. The film ends with Dewey’s first stage appearance in 25 years to sing a new song he had written. The song blew away the audience, and shortly thereafter Dewey dies of a heart attack (apparently).

Some movie “highlights” are: fights between Christians and rock-n-rollers at a talent show; the Jewish approval of and aid to the rock-n-roll development; the various styles of Black music–blues to rap; various satirized “big names” in rock-n-roll, such as Big Bopper, Buddy Holly, Elvis, The Temptations, The Beatles, Bob Dylan; antics of rock-n-roll singers/bands in hotels, etc.; birth of drug-addicted baby sired by Dewey’s pal & drummer from Alabama; various stage performances by Dewey, including a tv program; a celebrity tv interview; a trip to India to visit a guru; and the celebrity come-back. Some “spiritism”  or “visions” introduced also, as influential on Dewey.

The character of Dewey Cox, himself, seems to be a clearly satiric rendering of Johnny Cash. Those who saw the biographical movie, Walk The Line, will be completely familiar with the general, familial situation and evolution of this spoof. This includes the women in the life of Dewey. There is a June Carter Cash surrogate also. Still, there are a wide-ranging set of characters and vignettes, that go beyond the Johnny Cash line.

This film may have something for everyone, yet, it may not be a movie for everyone. As with the audience in the talent show at the early parts of this film, there may well be a marked cleavage of opinions about it.

All rights reserved. Gobigfoot, 2008