Maybe it's unfair to the networks, but inasmuch as TV movies have a middling reputation in the first place, I feel like the very notion of a feature produced by MTV or VH1 has an uphill battle ahead of it. It doesn't take long for this one to prove why: a brisk pace and curt, unsubtle plot development are adjoined by uncomfortably direct dialogue and scene writing (watch for the early moment when we learn the origins of the band's name), direction, cinematography, and editing. Such qualities, combined with the obvious musical element, foster an emphatically ham-handed tone, and demand the same from the cast (even extras). It's not that I doubt the capabilities of director Lorraine Senna, screenwriter Victoria Wozniak, or anyone else on hand, but for much of the length the nature of this feature requires a happy-go-lucky, peppy energy that's A Lot to take in as a viewer.
The good news is that despite the absolute gaucheness, 'Sweetwater' is nonetheless really enjoyable, even earnestly engrossing - and such as it is, very well made! I can't say I know everyone involved here, but star Amy Jo Johnson should be familiar to anyone who grew up in the 90s (the first pink Power Ranger!), with Kelli Williams half a step behind ('The Practice'); even if her role is smaller and her name alone doesn't carry the same stature, Michelle Phillips (The Mamas and the Papas!) might boast the most star power of all. Everyone on hand performs admirably, lending sincerity to the proceedings that helps to counterbalance the not insignificant awkwardness. I think all suitably demonstrate their skills such that neophytes might be enticed to check out more of their credits. I admit some bias, as I already like Johnson anyway, but I think she in particular commands the chief role with natural ease and grace, and genuinely admirable range. This is commendable not least of all in light of the especial focus on Nansi Nevins, and all her major ups and downs, and for the fact that Johnson is to some degree an accomplished singer-songwriter in her own right.
To that point: as I assume is true of most viewers, Sweetwater is not a band I can claim any knowledge of; their history is noteworthy, but not especially substantial or special in the grand tome of Rock 'N' Roll. Suffice to say that watching this film now, I immediately want to learn more about them. The music in 'Sweetwater' is outstanding, as lush and vibrant as any classic songs of the era, and I'm kind of aghast that it's taken a VH1 TV movie for me to discover the group. Johnson is just as fine behind a microphone as she is in front of the camera, and her co-stars portraying the other band members are just as swell in bringing the tunes to life.
Moreover, in all other regards this is gratifyingly well done. The writing shifts between a dramatization of past events and a "present day" (mid-90s) endeavor to find and celebrate the surviving members, and quite ably balances these facets to tell an unexpectedly compelling story. It's one matter to read what one can of Sweetwater's history, not least their meteoric rise on the national stage and Nevins' devastating injury; it's another matter to see all this play out before our eyes. Further themes and beats are accentuated including frayed group dynamics and the benefit and drawback of a singular frontperson; as the thrust of the plot shifts in the second half to spotlight Nevins, we see also the very personal toll of dreams clashing with reality, of the stereotypical rock lifestyle, and of the ugly fallout in many regards of all the difficulties along the way. And this storytelling is rounded out with fine craft in all other ways; I've remarked on the forthrightness of some aspects, but even with that slant in mind the direction, cinematography, and other technical elements are well done. The production design and art direction, costume design, and hair and makeup work are all splendid, and otherwise this is solidly constructed in all ways.
It may still be true that anyone who has difficulty with TV movies, or any measure of kitsch in their entertainment, won't find anything in this to change their minds. It is what it is. Nevertheless, I'm pleasantly surprised at just how good 'Sweetwater' ultimately is. Frankly there are numerous components here which of themselves are strong enough, in my estimation, to warrant a view. Johnson's performance is honestly pretty terrific, well exceeding what one may blithely assume of an actor who is (a) less than an A-list celebrity or (b) best known for a kids' superhero series, and I'd be lying if I said I wasn't impressed. The story that this feature has to tell is actively engaging and absorbing to an extent I was rather unprepared for; it may be a familiar story where famous musicians are concerned, but that doesn't make it any less deserving of telling and hearing again. And if one is a fan of music in any capacity, well, this could even be a must-see. For all the excellence of the production, 'Sweetwater' handily bests the reputation of the medium from which it arises, and is well worth checking out if you have the chance. Two thumbs up from me!
The good news is that despite the absolute gaucheness, 'Sweetwater' is nonetheless really enjoyable, even earnestly engrossing - and such as it is, very well made! I can't say I know everyone involved here, but star Amy Jo Johnson should be familiar to anyone who grew up in the 90s (the first pink Power Ranger!), with Kelli Williams half a step behind ('The Practice'); even if her role is smaller and her name alone doesn't carry the same stature, Michelle Phillips (The Mamas and the Papas!) might boast the most star power of all. Everyone on hand performs admirably, lending sincerity to the proceedings that helps to counterbalance the not insignificant awkwardness. I think all suitably demonstrate their skills such that neophytes might be enticed to check out more of their credits. I admit some bias, as I already like Johnson anyway, but I think she in particular commands the chief role with natural ease and grace, and genuinely admirable range. This is commendable not least of all in light of the especial focus on Nansi Nevins, and all her major ups and downs, and for the fact that Johnson is to some degree an accomplished singer-songwriter in her own right.
To that point: as I assume is true of most viewers, Sweetwater is not a band I can claim any knowledge of; their history is noteworthy, but not especially substantial or special in the grand tome of Rock 'N' Roll. Suffice to say that watching this film now, I immediately want to learn more about them. The music in 'Sweetwater' is outstanding, as lush and vibrant as any classic songs of the era, and I'm kind of aghast that it's taken a VH1 TV movie for me to discover the group. Johnson is just as fine behind a microphone as she is in front of the camera, and her co-stars portraying the other band members are just as swell in bringing the tunes to life.
Moreover, in all other regards this is gratifyingly well done. The writing shifts between a dramatization of past events and a "present day" (mid-90s) endeavor to find and celebrate the surviving members, and quite ably balances these facets to tell an unexpectedly compelling story. It's one matter to read what one can of Sweetwater's history, not least their meteoric rise on the national stage and Nevins' devastating injury; it's another matter to see all this play out before our eyes. Further themes and beats are accentuated including frayed group dynamics and the benefit and drawback of a singular frontperson; as the thrust of the plot shifts in the second half to spotlight Nevins, we see also the very personal toll of dreams clashing with reality, of the stereotypical rock lifestyle, and of the ugly fallout in many regards of all the difficulties along the way. And this storytelling is rounded out with fine craft in all other ways; I've remarked on the forthrightness of some aspects, but even with that slant in mind the direction, cinematography, and other technical elements are well done. The production design and art direction, costume design, and hair and makeup work are all splendid, and otherwise this is solidly constructed in all ways.
It may still be true that anyone who has difficulty with TV movies, or any measure of kitsch in their entertainment, won't find anything in this to change their minds. It is what it is. Nevertheless, I'm pleasantly surprised at just how good 'Sweetwater' ultimately is. Frankly there are numerous components here which of themselves are strong enough, in my estimation, to warrant a view. Johnson's performance is honestly pretty terrific, well exceeding what one may blithely assume of an actor who is (a) less than an A-list celebrity or (b) best known for a kids' superhero series, and I'd be lying if I said I wasn't impressed. The story that this feature has to tell is actively engaging and absorbing to an extent I was rather unprepared for; it may be a familiar story where famous musicians are concerned, but that doesn't make it any less deserving of telling and hearing again. And if one is a fan of music in any capacity, well, this could even be a must-see. For all the excellence of the production, 'Sweetwater' handily bests the reputation of the medium from which it arises, and is well worth checking out if you have the chance. Two thumbs up from me!