I saw "How Do You Write a Joe Shermann Song" in New York City on December 13th. I thought that Gary King successfully created a solid, moving film with some great standout performances from its ensemble cast. I imagine tackling a movie musical is a pretty tall order, but Gary's unique style allowed his actors to bring themselves to the role, allowing the scenes to breathe and take shape organically. The film is gritty and real, sort of in the way "Once" felt when I first saw it, and you find yourself really rooting for the main characters. Christina was very strong in the lead role, as was Mark DiConzo, a versatile actor who also choreographed some of the dance numbers. Both sustained strong performances throughout the whole movie, allowing the audience to really connect to their characters. I thought Christina did a nice job of capturing the chemistry between her character and Joe Shermann, played by Joe Shermann. Debbie Williams gave a convincing performance as Summer Roberson, and is a wonderful singer with a huge voice. I also loved a lot of the supporting characters, especially Daryl Ray Carliles as the minion assistant Danny Boy, who tries so hard to please his producer boss, and says so much without any dialogue. The interactions between him and Jenn Dees were pitch-perfect, and got huge laughs at the screening and left the audience wanting more. All in all a good solid film, and one a lot of people in the entertainment business will be able to relate to.
5 Reviews
This film completely sneaks up on you and sucker punches you in the face...in a good way...
kaslam3113 April 2012
I don't write reviews (ever). Not that I have anything against it, just that nothing has ever left a strong enough impression on me to warrant the time it takes to write a review (dramatic pause) until now.
My wife, best friend and I are all volunteers for the Phoenix Film Festival this year (which is a blast by the way). My buddy mentioned some musical that was about to show and we decided to sneak a peek at the first five minutes so we had something to make fun of over lunch. Seeing an amazing "diamond in the rough" film is the highlight of every festival; making fun of bad movies is a close second for a pair of failed (or failing) actors who have yet to make our mark. Joe Schermann was supposed to be only that: some cheese ball attempt at a contemporary musical that we could bash while we ate our Pita snacks.
We stole in and stood in the hallway to make our inevitable escape easier. Ten minutes later my friend turns to me and says (with an appropriate amount of shame in his eyes) "You wanna sit down?" Before I knew it the film was over, the lights were up and it was time to go do...whatever it was I was supposed to do. I've not stopped talking about this movie since. My wife saw it (in part at least to my incessant needling) and fell in deep in love with the flick as I did.
First of all: I wouldn't call this film a musical; at least not the way we've now been conditioned to think of them. This is an amazing movie that has music in it but the music adds to the narrative (unlike most musicals where the story is meant only to act as the set up for the next dance number). The filmmakers were able to walk the insanely thin line of "inserting song / dance number here" while moving the plot forward and further vesting the audience in the amazing (and not to be revealed in any way for fear of ruining valuable plot points by this review) experience that was: "How Do You Write A Joe Schermann Song".
Joe Schermann is such an amazing and talented musician he leaves no doubt as to why someone would choose to name a film after him. His acting is equally as rewarding - he has the gift of honest eyes and is able to simply "live" on camera instead of falling into the "what am I doing right now?" trap that a lot of indie-film / pseudo-method actors find themselves in.
The supporting cast deserves more than an honorable mention. Mark DiConzo with his always lovable if not only sometimes tolerable "make it happen" character, Debbie Williams as the golden voiced aspiring actress and Jenn Dees as the hilarious and over bearing, "I'm right / you're wrong" producer. However, the real stand out performance in this film is Christina Rose.
Christina is amazing. She can sing, dance, act, play piano and was the choreographer of the very impressive dance numbers. She has a level of talent reminiscent of old school movie stars like Cary Grant when an entertainer was exactly that, entertaining. The entire time spent watching Christina is done in a strange stupor as you try and figure out why the heck this girl isn't famous yet.
Last (and definitely not least) is the writer / director / producer Gary King. This film is so exceptionally unique in so many ways and each of them (I imagine) owes its existence to Gary King. He's a story teller in the truest sense of the term and is able to allow the audience a glimpse into the amazing world he creates without letting the window obscure the view (as so many directors do). He takes bold and daring chances that come close to riding the line of "gimmicky" but quickly transcend it into a realm of filmmaking where the director is truly in control and the viewer can sit back, relax and simply watch, comfortable in the knowledge that you're in good hands. If Gary's talent could be bottled, packaged and sold throughout Hollywood there would never be another flop. I believe the real question at hand may be: "How do you make a Gary King film?"
The ONLY thing that could be more fulfilling than watching "How Do You Write A Joe Schermann Song?" was watching the cast / crew accept their well deserved and hard earned awards for "Breakout Filmmaker" and "Audience Choice". To see how thrilled they were was, in itself, a thrill. They're impossible not to cheer for.
We've all had those experiences with movies that force you to keep your seat for a moment and revel in the fact that we just experienced exactly what it is we're looking to experience every time we go to see a movie. The scarcity with which we meet this feeling is part of the reason we grant it such high value. "How Do You Write A Joe Schermann Song?" is an amazing film and story that stays with you long after the credits have rolled.
My wife, best friend and I are all volunteers for the Phoenix Film Festival this year (which is a blast by the way). My buddy mentioned some musical that was about to show and we decided to sneak a peek at the first five minutes so we had something to make fun of over lunch. Seeing an amazing "diamond in the rough" film is the highlight of every festival; making fun of bad movies is a close second for a pair of failed (or failing) actors who have yet to make our mark. Joe Schermann was supposed to be only that: some cheese ball attempt at a contemporary musical that we could bash while we ate our Pita snacks.
We stole in and stood in the hallway to make our inevitable escape easier. Ten minutes later my friend turns to me and says (with an appropriate amount of shame in his eyes) "You wanna sit down?" Before I knew it the film was over, the lights were up and it was time to go do...whatever it was I was supposed to do. I've not stopped talking about this movie since. My wife saw it (in part at least to my incessant needling) and fell in deep in love with the flick as I did.
First of all: I wouldn't call this film a musical; at least not the way we've now been conditioned to think of them. This is an amazing movie that has music in it but the music adds to the narrative (unlike most musicals where the story is meant only to act as the set up for the next dance number). The filmmakers were able to walk the insanely thin line of "inserting song / dance number here" while moving the plot forward and further vesting the audience in the amazing (and not to be revealed in any way for fear of ruining valuable plot points by this review) experience that was: "How Do You Write A Joe Schermann Song".
Joe Schermann is such an amazing and talented musician he leaves no doubt as to why someone would choose to name a film after him. His acting is equally as rewarding - he has the gift of honest eyes and is able to simply "live" on camera instead of falling into the "what am I doing right now?" trap that a lot of indie-film / pseudo-method actors find themselves in.
The supporting cast deserves more than an honorable mention. Mark DiConzo with his always lovable if not only sometimes tolerable "make it happen" character, Debbie Williams as the golden voiced aspiring actress and Jenn Dees as the hilarious and over bearing, "I'm right / you're wrong" producer. However, the real stand out performance in this film is Christina Rose.
Christina is amazing. She can sing, dance, act, play piano and was the choreographer of the very impressive dance numbers. She has a level of talent reminiscent of old school movie stars like Cary Grant when an entertainer was exactly that, entertaining. The entire time spent watching Christina is done in a strange stupor as you try and figure out why the heck this girl isn't famous yet.
Last (and definitely not least) is the writer / director / producer Gary King. This film is so exceptionally unique in so many ways and each of them (I imagine) owes its existence to Gary King. He's a story teller in the truest sense of the term and is able to allow the audience a glimpse into the amazing world he creates without letting the window obscure the view (as so many directors do). He takes bold and daring chances that come close to riding the line of "gimmicky" but quickly transcend it into a realm of filmmaking where the director is truly in control and the viewer can sit back, relax and simply watch, comfortable in the knowledge that you're in good hands. If Gary's talent could be bottled, packaged and sold throughout Hollywood there would never be another flop. I believe the real question at hand may be: "How do you make a Gary King film?"
The ONLY thing that could be more fulfilling than watching "How Do You Write A Joe Schermann Song?" was watching the cast / crew accept their well deserved and hard earned awards for "Breakout Filmmaker" and "Audience Choice". To see how thrilled they were was, in itself, a thrill. They're impossible not to cheer for.
We've all had those experiences with movies that force you to keep your seat for a moment and revel in the fact that we just experienced exactly what it is we're looking to experience every time we go to see a movie. The scarcity with which we meet this feeling is part of the reason we grant it such high value. "How Do You Write A Joe Schermann Song?" is an amazing film and story that stays with you long after the credits have rolled.
The most charming movie you'll see all year
SuzanneZiad9 April 2012
I don't like musicals. But this isn't a musical. It's a beautiful movie that happens to have beautiful music throughout. Director Gary King is clearly a visionary. His choices are clear throughout the entire film. And his choices are bold. The choreography in the movie (choreographed by Christina Rose and Mark DiConzo) is so much fun and definitely a 'showstopper'. Ken Lampl, the film's composer is outstanding. It is clear that Ken was very deliberate in the music he wrote for all the characters that seem to all tie together to effortlessly. I left the theater with the music playing softly in my mind. Now, to the players. How can we talk about this movie without talking about Joe Schermann himself? Joe is brilliant. His music and lyrical skills are the envy of every classically trained music student. Not to mention that Joe is a wonderful actor. He's very honest and very natural. It's evident that he doesn't force the character. He just knows how to live on camera. Mark DiConzo was a pleasure to watch. His subtly is something that I know actors would want to understand and learn. He's funny, he can sing, he can dance. I cannot wait to see more of his work. Brilliant. And of course, it's time to talk about the lovely Christina Rose. She is a force. But this force is soft, graceful and elegant. She does does it all too. Producer, choreographer, singer, dancer, piano player and actor. She's one of those people that was clearly made for film. Her on screen presence is beautiful to watch and you can tell that she took the time to understand her character and her character's desire throughout the story. The soundtrack hasn't left my car since the day Christina gave it to me and I drive around the city belting out Joe Schermann's songs off key. I know everyone from the film is going to continue to make brilliant films. But I can't help but wish they would all collaborate one more time. It's obvious from the final result of this film that they all have amazing chemistry together.
Unforgettable Beautiful Experience
vika1919-195-4477153 June 2013
I usually do not watch musicals .At this time I "had to" since a copy of the film was a gift from Gary . And my husband hardly watches movies at all...But ! Both of us were glued to TV completely in love with every moment of " How do you write..". Lovely , fresh , sweet , light , smart ...plain Beautiful !!! Actors were superb , a pleasure to follow their on film experiences . Original music the sweetest ..It was not just a musical...It was Music ! Of the heart ..So so Wonderful !!! I know I will want to come back to this amazing film again and again. It was somewhat a unique artistic experience . The kind of film that will live forever. Thank you so much Gary ! And I can't wait to see your new Creations !
Great opening sequence, but then it goes nowhere... very slowly.
Davalon-Davalon13 March 2020
Warning: Spoilers
I bought the DVD of this film based on the trailer that I saw. The trailer hinted at something fun, upbeat, Broadway-esque. It had a nostalgic feeling for me, since I used to play piano for up-and-coming cabaret and stage singers.
So, it is with great disappointment that I must say that this project failed on almost all levels. Except for the opening credit sequence, which, again, hinted at something wonderful, the film involves lots of establishing shots (many which are pointless), long, rambling scenes filled with people sitting and talking (or walking and talking), and very, very little music.
The plot, such as it is, doesn't make any sense at all. A man (really) named Joe Schermann is an accompanist and a composer who seems aimless, arrogant, bored, and disconnected from reality. He has a girlfriend, Evey (not "Evie," played by Christina Rose, who makes every effort to give it her all) who inexplicably adores him. We are somehow supposed to understand that Joe has some kind of social anxiety. When Evey drags him to an after-show party, he seems incapable of answering the question, "What do you do?" Why this is, is a mystery to me.
We see him playing piano for other singers, teaching piano to a kid, playing piano at a party (where an incredibly stupid guest says, "So, are you a musician or something?" - this is apparently supposed to be hysterically funny to "those in the know"), and playing piano for an audition. At the audition, the first woman who sings has a beautiful voice, but she is dismissed after one line. This is also apparently supposed to show the "cruel reality" of "auditioning." Then another woman comes in, "Summer" (played with some slight sunny charm by Debbie Williams). From almost the instant she starts singing, Joe's face lights up. He's "found his muse." And yet... Summer's singing abalbility isn't that much better than Evey's. In other words, both of them are competent singers, maybe even fine singers, under certain circumstances.
Then Joe (who, I'm sorry to say, has absolutely no acting skills), who doesn't like to collaborate or work with others, is given an "opportunity" to write music for an "off-Broadway show" by his friend "Gunther" (Mark DiConzo, who also apparently choreographed the few dance numbers in the film). The "producers" of the "off-Broadway show" do not seem to know anything about music and apparently have no story and no actors and no understanding of how to cast a lead. But after "auditioning" Joe in a bizarre fantasy sequence in which he attempts to play the type of music they want, he's hired (for a job he needs but doesn't want to do), and is also apparently given full power to find and hire the lead.
This causes him to stalk Summer (instead of just calling her on the phone) and "offer" her the part for the show (she has no idea what it is about but agrees to do it relatively quickly). At first, when she sees her 8x10 sticking out of his pocket (folded so that we can clearly see that it's her), she thinks he's a gross weirdo stalking her. (Who would fold someone's 8x10 and stick it in their front pocket?) When he tells her, "I just had to tell you this in person" - I thought - "Uh, no you didn't. That's why we have phones."
This long, convoluted journey then becomes about jealous Evey who believes she should have the opportunity to audition for the part (and she's right, she should) and Summer. Who will get it? Will this destroy Joe's love life? Will he then fall in love with Summer, who first says she had a boyfriend then admits she doesn't?
Who cares? There is so much talking and moping and whining and blathering and blah-blah-blah that it makes absolutely no difference whatsoever. I thought this was going to be a "musical." It is not. It is a talk-fest with a few suspect "Broadway-sounding" songs thrown in.
The ONLY song that actually had some chance at being considered for a real show is the title song. It is clever, musical, worthy of an ensemble and memorable. Other than a dancing dog at a princess party in the park, to show what kind of horrible stuff Evey has to do to make a living (entertain girls who all want to be pretty princesses when they grow up!) and the title sequence, the title song is the only thing this movie has got going for it.
The writer/director, Gary King, who seems like a sincerely sweet person, felt compelled to put himself in the film as a "screenwriter" who ultimately "saves" Evey's career by offering her a chance to read for a part in his film. And Summer? She gets a part in the ensemble of a real Broadway show and apparently bails on the one that Joe wrote music for.
And, oh... that show? We never get to see it. All we see is Joe and one of the producers standing in a tiny Equity house (looked like about 50 seats), staring at an empty theater. The producer says, "It wasn't that bad, was it?" And Joe reluctantly agrees with her.
Huh?
The cover of the DVD looks great and, again, the opening sequence gave the illusion that we were going to go on this great, wonderful ride. But none of that happened, and so I cannot recommend this in any shape or form. The title song should be released as a video on YouTube, because it was fun and musical, and the dancing dog should be turned into a meme. Other than that, sorry, it doesn't work.
So, it is with great disappointment that I must say that this project failed on almost all levels. Except for the opening credit sequence, which, again, hinted at something wonderful, the film involves lots of establishing shots (many which are pointless), long, rambling scenes filled with people sitting and talking (or walking and talking), and very, very little music.
The plot, such as it is, doesn't make any sense at all. A man (really) named Joe Schermann is an accompanist and a composer who seems aimless, arrogant, bored, and disconnected from reality. He has a girlfriend, Evey (not "Evie," played by Christina Rose, who makes every effort to give it her all) who inexplicably adores him. We are somehow supposed to understand that Joe has some kind of social anxiety. When Evey drags him to an after-show party, he seems incapable of answering the question, "What do you do?" Why this is, is a mystery to me.
We see him playing piano for other singers, teaching piano to a kid, playing piano at a party (where an incredibly stupid guest says, "So, are you a musician or something?" - this is apparently supposed to be hysterically funny to "those in the know"), and playing piano for an audition. At the audition, the first woman who sings has a beautiful voice, but she is dismissed after one line. This is also apparently supposed to show the "cruel reality" of "auditioning." Then another woman comes in, "Summer" (played with some slight sunny charm by Debbie Williams). From almost the instant she starts singing, Joe's face lights up. He's "found his muse." And yet... Summer's singing abalbility isn't that much better than Evey's. In other words, both of them are competent singers, maybe even fine singers, under certain circumstances.
Then Joe (who, I'm sorry to say, has absolutely no acting skills), who doesn't like to collaborate or work with others, is given an "opportunity" to write music for an "off-Broadway show" by his friend "Gunther" (Mark DiConzo, who also apparently choreographed the few dance numbers in the film). The "producers" of the "off-Broadway show" do not seem to know anything about music and apparently have no story and no actors and no understanding of how to cast a lead. But after "auditioning" Joe in a bizarre fantasy sequence in which he attempts to play the type of music they want, he's hired (for a job he needs but doesn't want to do), and is also apparently given full power to find and hire the lead.
This causes him to stalk Summer (instead of just calling her on the phone) and "offer" her the part for the show (she has no idea what it is about but agrees to do it relatively quickly). At first, when she sees her 8x10 sticking out of his pocket (folded so that we can clearly see that it's her), she thinks he's a gross weirdo stalking her. (Who would fold someone's 8x10 and stick it in their front pocket?) When he tells her, "I just had to tell you this in person" - I thought - "Uh, no you didn't. That's why we have phones."
This long, convoluted journey then becomes about jealous Evey who believes she should have the opportunity to audition for the part (and she's right, she should) and Summer. Who will get it? Will this destroy Joe's love life? Will he then fall in love with Summer, who first says she had a boyfriend then admits she doesn't?
Who cares? There is so much talking and moping and whining and blathering and blah-blah-blah that it makes absolutely no difference whatsoever. I thought this was going to be a "musical." It is not. It is a talk-fest with a few suspect "Broadway-sounding" songs thrown in.
The ONLY song that actually had some chance at being considered for a real show is the title song. It is clever, musical, worthy of an ensemble and memorable. Other than a dancing dog at a princess party in the park, to show what kind of horrible stuff Evey has to do to make a living (entertain girls who all want to be pretty princesses when they grow up!) and the title sequence, the title song is the only thing this movie has got going for it.
The writer/director, Gary King, who seems like a sincerely sweet person, felt compelled to put himself in the film as a "screenwriter" who ultimately "saves" Evey's career by offering her a chance to read for a part in his film. And Summer? She gets a part in the ensemble of a real Broadway show and apparently bails on the one that Joe wrote music for.
And, oh... that show? We never get to see it. All we see is Joe and one of the producers standing in a tiny Equity house (looked like about 50 seats), staring at an empty theater. The producer says, "It wasn't that bad, was it?" And Joe reluctantly agrees with her.
Huh?
The cover of the DVD looks great and, again, the opening sequence gave the illusion that we were going to go on this great, wonderful ride. But none of that happened, and so I cannot recommend this in any shape or form. The title song should be released as a video on YouTube, because it was fun and musical, and the dancing dog should be turned into a meme. Other than that, sorry, it doesn't work.
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