Imagine four young boys who grew up living on small crimes in the slums of New Jersey, some of them spending their time in prison. At some point comes the music, the only way out from what it was predicting a catastrophic situation and together they form a band designed to have an incredible success.
This is the story of The Four Seasons or Jersey Boys, as the Oscar-winning director Clint Eastwood called them in his latest film, taking its name from the musical staged at Broadway, whose performances have been going on for eight years and that has achieved resounding success even in its world tour. Frankie Valli, Bob Gaudio, Nick Massi and Tommy DeVito, four young men who have influenced generations upon generations with their music. The four boys from New Jersey, played respectively by John Lloyd Young (who also plays Valli in the musical), Erich Bergen, Michael Lomeda and Vincent Piazza, each had a distinct feature. The main feature of Frankie is his falsetto tenor, Bob wisdom and musicality, Nick got the ear and Tommy the ambition.
This seemed to be the perfect formula for success, which has arrived but, in addition to money and fame, brought up old issues, making others emerge, personal and professional. In this way, in addition to Sherry, Big Girls Do not Cry, Walk Like a Man, Bye Bye Baby and many other unforgettable songs that became hits, inconvenient truths surfaced, intolerance accumulated over many years of sharing hotel rooms on tour, jealousy but above all, millionaires debts contracted by Tommy, because of his very bad management of the group and his problems with gambling. It is in these hard times that they seek the help of the Mafia boss of New Jersey, Gyp DeCarlo (Christopher Walken). Between The Four Seasons and DeCarlo there is a kind of patriarchal relationship, a sort of tribal characteristic, also accentuated by the affection and esteem of the boss for Frankie Valli.
Everybody knows the songs and the sound of these four guys, but not their story. Clint Eastwood wanted to tell their glorious rise and disastrous fall, going beyond their jackets and ties. The songs they used to sing will still be great optimistic classics, but the personality of those who sang them had been hardened by the slums where they grew up in. Each of them has a voice that should not be used only to sing. Eastwood makes the actors speak directly to the camera, giving them the opportunity to tell the story from their own point of view. It seems to live with them thanks to the great work done on the costumes by Deborah Hopper, who sported the change of fashion between the 50s, 60s and 70s until the final reunion of the 90s.
This is the story of Frankie, Tommy, Bob and Nick, who from the street they have brought their dream in the recording studio making songs that even today, many years later, people know and whistle on the street. The songs of four young men whose legacy, as stated by the director “is still alive to this day.”