If it were a '40s romantic comedy, "Why Do Fools Fall in Love" might be titled "Testimony of Three Wives".
A dark, dramatic biopic based on the downsliding life of doo-wopper Frankie Lymon, who rose to fame on the titular song, "Fools" stars Halle Berry, Vivica A. Fox and Lela Rochon as the women who were married to Lymon and whose court fight over his royalty "estate" clue us to Lymon's sorry life, a drug-filled saga that had too little "doo" and way too much "wop."
Boasting some great late '50s and early '60s rock sounds, this Warner Bros. film, unfortunately, spins back and forth narratively so much that it has trouble settling into a consistent story rpm and is likely to get only a short play time at the boxoffice despite the excellent lead performances and nostalgic rock 'n' roll sound track.
Frankie Lymon (Larenz Tate) was short, cute and smooth. In the early '60s he was a star, lighting up the roadshow venues with his electric personality and, most popularly, his hit song -- "Why Do Fools Fall in Love". Even by rock star standards, Frankie had a way with the ladies: they adored him and, with his slight frame and boyish looks, he brought out their motherly instincts as well. According to Tina Andrews' fact-based screenplay, Frankie attracted all kinds as we readily see in the three very different women who vie for the royalties he supposedly acquired following his death by overdose. In a court battle, which very much resembles a game show owing to the varied nature of Limon's wives, Widow No. 1 is Zola Taylor (Berry), a former Platters singer and female rock star; Widow No. 2 is Elizabeth (Fox) a streetwise, petty criminal, and Widow No. 3 is Elmira (Rochon), a demure Southern schoolteacher. Frankie had a rather loose regard for bigamy laws, and all three contend that they are the true wife of the late singer. Each has a story and, as you'd expect, they're not exactly airtight.
In essence, Frankie's life and career is refracted through the prism of these three women's viewpoints and, not surprisingly, each paints a startlingly different portrait of the troubled entertainer. With most of the film told in flashback with multiple viewpoints, we're given a textural portrait that is both entertaining and illuminating. Best, this includes some great rock 'n' roll period stuff as well, early Alan Freed shows with such groups as the Shirelles, Little Richard and the Platters performing up and through the mid-'60s on shows including "Hullaballoo". Most of this is engaging, especially owing to the gritty and glossy lead performances, but some of the period evocation is a bit scratchy: '60s protesters come across as variety-show entertainers and the authenticity is muddled by the all-too-obvious studio-lot look of the settings. Like all music bios, we get the feeling that much of the story is grooved according to which music rights were available -- it's odd to see the mid-'60s in rock history with only a one-line mention of the Beatles and a cursory selection of songs that, overall, gives us no "Satisfaction".
The high note of this affectionate production is in the performances, especially Fox as the sultry bad-girl who decides to take on the music-industry practice of producers plastering their name on the writing credits of pop songs for royalties. Fox's don't-mess-with-me demeanor is a powerful pack of facial expressions, body language and attitude. She's reached back for some moves we haven't seen before. High praise also to Berry for her sassy, splashy performance as Frankie's songstress/wife, while Rochon is splendidly credible as Frankie's provincial Southern schoolmarm wife. As the troubled Frankie, Larenz Tate is a perfect blend of charisma and self-destructiveness. Once again, Paul Mazursky is outstanding in a supporting role, hitting all the right slimy notes in his role as a sleazy music producer.
Despite the artificial, studio look of much of the film, light up the applause meter for Cary White's garish, eye-catching, pink-patched production design, perfectly conveying the excess and transience of the characters and the era.
WHY DO FOOLS FALL IN LOVE
Warner Bros.
Producers: Paul Hall, Stephen Nemeth
Director: Gregory Nava
Screenwriter: Tina Andrews
Executive producers: Gregory Nava, Mark Allan, Harold Bronson
Director of photography: Edward Lachman
Production designer: Cary White
Editor: Nancy Richardson
Music: Stephen James Taylor
Costume designer: Elisabetta Beraldo
Casting: Reuben Cannon
Sound mixer: Veda Campbell
Color/stereo
Cast:
Zola Taylor: Halle Berry
Elizabeth Waters: Vivica A. Fox
Emira Eagle: Lela Rochon
Frankie Lymon: Larenz Tate
Little Richard: Himself
Morris Levy: Paul Mazursky
Herman Santiago: Alexis Cruz
Sherman: J. August Richards
Running time -- 123 minutes
MPAA rating: R...
A dark, dramatic biopic based on the downsliding life of doo-wopper Frankie Lymon, who rose to fame on the titular song, "Fools" stars Halle Berry, Vivica A. Fox and Lela Rochon as the women who were married to Lymon and whose court fight over his royalty "estate" clue us to Lymon's sorry life, a drug-filled saga that had too little "doo" and way too much "wop."
Boasting some great late '50s and early '60s rock sounds, this Warner Bros. film, unfortunately, spins back and forth narratively so much that it has trouble settling into a consistent story rpm and is likely to get only a short play time at the boxoffice despite the excellent lead performances and nostalgic rock 'n' roll sound track.
Frankie Lymon (Larenz Tate) was short, cute and smooth. In the early '60s he was a star, lighting up the roadshow venues with his electric personality and, most popularly, his hit song -- "Why Do Fools Fall in Love". Even by rock star standards, Frankie had a way with the ladies: they adored him and, with his slight frame and boyish looks, he brought out their motherly instincts as well. According to Tina Andrews' fact-based screenplay, Frankie attracted all kinds as we readily see in the three very different women who vie for the royalties he supposedly acquired following his death by overdose. In a court battle, which very much resembles a game show owing to the varied nature of Limon's wives, Widow No. 1 is Zola Taylor (Berry), a former Platters singer and female rock star; Widow No. 2 is Elizabeth (Fox) a streetwise, petty criminal, and Widow No. 3 is Elmira (Rochon), a demure Southern schoolteacher. Frankie had a rather loose regard for bigamy laws, and all three contend that they are the true wife of the late singer. Each has a story and, as you'd expect, they're not exactly airtight.
In essence, Frankie's life and career is refracted through the prism of these three women's viewpoints and, not surprisingly, each paints a startlingly different portrait of the troubled entertainer. With most of the film told in flashback with multiple viewpoints, we're given a textural portrait that is both entertaining and illuminating. Best, this includes some great rock 'n' roll period stuff as well, early Alan Freed shows with such groups as the Shirelles, Little Richard and the Platters performing up and through the mid-'60s on shows including "Hullaballoo". Most of this is engaging, especially owing to the gritty and glossy lead performances, but some of the period evocation is a bit scratchy: '60s protesters come across as variety-show entertainers and the authenticity is muddled by the all-too-obvious studio-lot look of the settings. Like all music bios, we get the feeling that much of the story is grooved according to which music rights were available -- it's odd to see the mid-'60s in rock history with only a one-line mention of the Beatles and a cursory selection of songs that, overall, gives us no "Satisfaction".
The high note of this affectionate production is in the performances, especially Fox as the sultry bad-girl who decides to take on the music-industry practice of producers plastering their name on the writing credits of pop songs for royalties. Fox's don't-mess-with-me demeanor is a powerful pack of facial expressions, body language and attitude. She's reached back for some moves we haven't seen before. High praise also to Berry for her sassy, splashy performance as Frankie's songstress/wife, while Rochon is splendidly credible as Frankie's provincial Southern schoolmarm wife. As the troubled Frankie, Larenz Tate is a perfect blend of charisma and self-destructiveness. Once again, Paul Mazursky is outstanding in a supporting role, hitting all the right slimy notes in his role as a sleazy music producer.
Despite the artificial, studio look of much of the film, light up the applause meter for Cary White's garish, eye-catching, pink-patched production design, perfectly conveying the excess and transience of the characters and the era.
WHY DO FOOLS FALL IN LOVE
Warner Bros.
Producers: Paul Hall, Stephen Nemeth
Director: Gregory Nava
Screenwriter: Tina Andrews
Executive producers: Gregory Nava, Mark Allan, Harold Bronson
Director of photography: Edward Lachman
Production designer: Cary White
Editor: Nancy Richardson
Music: Stephen James Taylor
Costume designer: Elisabetta Beraldo
Casting: Reuben Cannon
Sound mixer: Veda Campbell
Color/stereo
Cast:
Zola Taylor: Halle Berry
Elizabeth Waters: Vivica A. Fox
Emira Eagle: Lela Rochon
Frankie Lymon: Larenz Tate
Little Richard: Himself
Morris Levy: Paul Mazursky
Herman Santiago: Alexis Cruz
Sherman: J. August Richards
Running time -- 123 minutes
MPAA rating: R...
- 8/10/1998
- The Hollywood Reporter - Movie News
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