Movie Reviewed: That Thing You Do!
Director: Tom Hanks
Date: 3 May 2020
jamesintexas Rating: ***1/2
Based on a comment in my favorite film podcast Battleship Pretension, I realized that I had never caught up with Tom Hanks's That Thing You Do! from fall of 1996. I was a freshman at Kenyon College, miles away from a movie theater and car-less. In fact, the big Kenyon Film Society field trip that January was to drive an hour into mid-Ohio to the Bexley Art Theater to see Kenneth Branagh's Hamlet. But, I was immersing myself in film: Leaving Las Vegas and Dead Man Walking were the opening KFS film screening weekend in Rosse Hall. But, I wasn't seeing many movies that were current until it was Thanksgiving Break or Christmas Break, so I missed this one completely and never caught up with it. The release date was October 4th, 1996, and that's probably right around the All-Ohio Cross Country Meet in Delaware for the Kenyon Lords which was a huge part of my world (Ross, Mickey, Rudy, Jason, Dan, John, Brendan, Ryan, and Charlie), but I would like to think that I would have recognized and responded to the sheer exuberance and joyousness of this film. There is an undeniable joy to this story, and it is lovingly told.
In Tom Hanks's directorial debut, the film depicts 1960's Erie, Pennsylvania as seen through the sunglasses of Guy Patterson (a winning Tom Everett Scott), a drummer who surreptitiously waits until the family appliance retail store that he works at is closed in order to practice his beats and dream of a day when he can perform in front of a crowd. That day happens much sooner than expected due to a local group needing an emergency drummer because of a broken arm. Guy joins the Oneders with Jimmy (Jonathon Schaech), Lenny (Steve Zahn), and The Bass Player (Ethan Embrey), as well as Faye (Liv Tyler), Jimmy's girlfriend and band's number one fan. Their first gig explodes when Guy moves up the tempo on the eponymous "That Thing You Do!" much to the surprise of the band, but the crowd takes to it, jumping up out of their seats, dancing wildly, and generally grooving to the undeniably catchy song. That song and set leads to a spot at a local Italian restaurant, a little bit of money, fans who follow them, and eventually, a manager in an RV. The film moves effervescently from scene to scene, guided by the genuinely sweet performances by the leads who have an undeniable chemistry. The film is very funny and warm, with the Oneders' good luck growing alongside their popularity. They secure a record for their song, and when that song is first played on the local radio, their first time ever hearing themselves on the radio, the Oneders respond electrically, leaping out of cars in the middle of the street without shutting doors, blasting the song of every radio they can find in the appliance store, jumping up and down to it as parents and siblings look on in shock, basking in the moment of joy. It is the best scene in a film of great scenes, and they quickly join forces with a savvy manager for a major record label, Mr. White (Tom Hanks), who steals nearly every scene he is in with his gruff and ruthless steering of their careers from state fairs to Hollywood; he christens them The Wonders, and seems above the silliness while appreciating it from a distance or at least coolly being able to size up what will probably happen to them. "Watch the shelf," he remarks, adjusting his hair while The Wonders celebrate their single's rise up the chart.
The film takes a recognizable trajectory with inevitable conflicts that arise from within the band and outsiders. Yet, Hanks steers the film ably, making everything connect organically, from Guy's hero worship of famous musicians and getting to meet them to Lenny's wonderful embracing of the chaos of stardom, driving to Las Vegas with his new girl. Lead singer Jimmy remains aloof and a bit of a mystery, and the film swerves into a last-minute romance that it may or may not earn, but the film savors its performances, lets its characters breathe and laugh and cry with each other, and has undeniably catchy music from the late Adam Schlesinger from Fountains of Wayne, who recently passed away due to COVID-19. Hanks dabbled in some songwriting as well to capture the early 60's vibe of the film.
I remember some of the first times that I ever saw my name in print, and though there is no equivalent to hearing your song on the radio, walking into Peirce Hall at Kenyon during the Fall of 1997 as a sophomore and seeing my film preview of Miller's Crossing in the stacks and stacks of The Kenyon Collegian newspaper was a memorable moment for me. It was not quite seeing people rush the stage and mob you, but a satisfaction and a joy that had been building since I started reading Roger Ebert and Gene Siskel in middle school and wanting to be a film reviewer. In the last decade, I had the privilege of being published in Cinespect (now defunct) and the great Battleship Pretension, both amazing and generous opportunities to share my voice with other people to get their reactions. I still get a little bit of that rush when a friend comments on a film that I have loved with their own take, continuing the conversation, making me feel engaged in this world of art and artists. That Thing You Do! earns its exclamation point, and I am forever indebted to Tyler and David from Battleship Pretension for steering me towards it during the quarantine. If you need some joy in your life, borrow two hours of it from Tom Hanks, the impressive cast, and the catchy music of That Thing You Do! Heck, I would listen to Battleship Pretension too.
And, it bears repeating, but Tom Hanks is and remains a national treasure. I am glad he is recovered from COVID-19. I am so glad to have grown up with him in films and pop culture, from Dragnet to Philadelphia, from Forrest Gump to Captain Phillips, from his advocacy for World War 2 veterans to David S. Pumpkins. Seeing him host Saturday Night Live again and knowing that his light is still shining brings me hope. Here's to many, many more Tom Hanks movies and appearances.
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