Set in 1963 suburban New Jersey, Douglas (John Magaro) is a skinny white kid who wants nothing more than to play music. A drummer with a great singing voice, he is totally uninterested in the collegiate future his father (James Gandolfini) has planned for him. Like lots of kids his age, Douglas gets caught up in the British music invasion led by the Beatles and the Rolling Stones. Teaming with resident rocker Gene (Jack Huston) and school chum, Wells (Will Brill) Douglas forms a band that finds him stuck behind his drum kit. When Douglas decides to make a play to take over lead vocals, the group dynamic changes significantly, giving the guys a chance at a recording contract.
Not Fade Away charts several years in Douglas growth from awkward rock star wannabe to legitimate member of the counterculture lifestyle. One of the final images we see on the screen is a billboard advertising The Graduate. Most would agree that trying to capture four years in the life of an adolescent is tough to do in any film, but doing it while trying to hit on all the periods historical moments is nearly impossible. This is the 1960’s and things—philosophies and politics—were changing rapidly. It’s really no wonder that Doug and his traditional father clash often, though it’s always clear that they love each other.
For Douglas, the 1960’s is a time of great expectations and frustration. As the years pass, he finds his dreams of fame just out of reach, testing the patience of friends and family alike. Undoubtedly, David Chase had a neat idea for a story here, but there’s so much going on here, and too many different threads. All that being said, I still enjoyed a lot of Not Fade Away; all the parts are interesting, even if they don’t quite fit together. The cast is excellent, with Huston, Gandolfini, and Dominique McElligott all turning in fine performances in their supporting roles. John Magaro also acquits himself well, showing an ability to grow a character on film. Not Fade Away isn’t a great film, but anyone who enjoys the 1960’s and its music, should give this one a look.
Presented in the 1.85:1 aspect ratio, the 1080p transfer is a solid one. Detail quality is very strong, colors are accurately represented, and black levels are inky throughout. Aliasing does crop up a couple of times, and banding is occasionally evident, but on the whole, this is a fine transfer.
The DTS-HD 5.1 Master Audio track handles this music heavy film very well. Dialogue sounds fine, and the surrounds provide surprisingly enveloping atmospherics. The punch provided for the musical highlights is the most impressive feature here.
French and Spanish Dolby Digital 5.1 tracks are included, as are English SDH, French, and Spanish subtitles.
Along with iTunes and UV Digital Copies of the film, the following special features are available:
- The Basement Tapes (HD): A three-piece making-of feature. Track 1: The Boys in the Band (13:32) has cast and crew discussing the film’s origins, David Chase’s love of music, characters and cast, and training the actors in the art of music. Track 2: Living in the Sixties (12:26) explores the film’s timetable as it relates to the music in the film. It also takes a look at how music was selected for the film. Track 3: Hard Art (10:04) offers a more detailed look at the technical process of the shoot while also looking at the story.
- Building the Band (HD, 3:06): A look at casting the band members.
- Deleted Scenes (HD, 5:33): Naming the Band, Thanksgiving, Eviction, and You and Me Gonna Tangle.
