Set in a plausibly dreary and defiantly anti-nostalgic late 50's era Britian, this grimly serious kitchen sink drama relates the turbulent up and down tale of one Jim MacLaine (superbly played by David Essex of "Rock On" fame), a discontent working class bloke who wants to be a rock star so he can successfully transcend the dismally unrewarding banality of plain old normal bourgeoisie existence and live a free, spontaneous, not attached to any heavy responsibility life. Jim drops out of school and moves out of his mother's house. He winds up going nowhere slowly, selling beach chairs on the arid shore in order to scrape by, until a shrewd smoothie busboy (Ringo Starr in a surprisingly excellent performance) takes the shy, naive Jim under his wing and teaches the heretofore sweet, guileless lad the fine art of picking up girls and gypping patrons at the local carnival of their spare change. Pretty soon Jim degenerates into a cold, heartless womanizing cad who's incapable of commitment and, as long as he refuses to settle down, just a few steps away from the fame he seeks.
Loosely based on John Lennon's actual early exploits, with an outstanding golden oldies soundtrack and a rough, seedy, marvelously unglamorous and unromanticized depiction of the 50's, "That'll Be the Day" offers an engrossingly seamy and minutely detailed evocation of drab blue collar life, chiefly centering on the pertinent role rock music plays in serving as an outlet for overcoming the horrid ordinariness of said average lifestyle. Claude Whatham's astutely observant direction delivers a striking wealth of piquant incidental touches -- the ghastly shabbiness of Jim's cheap apartment, the faulty, out-of-tune speakers at a rundown dance hall, the grungy sleaziness of the fairground Jim works at, an incredibly cheerless wedding reception -- which in turn brings a splendidly gritty, lived-in conviction to Ray Connelly's meticulous, unsparingly downbeat script. Moreover, the acting is uniformly top-notch (Essex's finely underplayed characterization is especially strong), with commendable work turned in by Rosemary Leach as Jim's doting, concerned mother, James Booth as Jim's restless and unreliable absentee deadbeat dad, and Billy Fury as hotshot lounge singer extraordinaire Stormy Tempest. A sterling cinematic testament to rock music's undying allure and magical ability to create hope in an otherwise bleak and thankless world.
Loosely based on John Lennon's actual early exploits, with an outstanding golden oldies soundtrack and a rough, seedy, marvelously unglamorous and unromanticized depiction of the 50's, "That'll Be the Day" offers an engrossingly seamy and minutely detailed evocation of drab blue collar life, chiefly centering on the pertinent role rock music plays in serving as an outlet for overcoming the horrid ordinariness of said average lifestyle. Claude Whatham's astutely observant direction delivers a striking wealth of piquant incidental touches -- the ghastly shabbiness of Jim's cheap apartment, the faulty, out-of-tune speakers at a rundown dance hall, the grungy sleaziness of the fairground Jim works at, an incredibly cheerless wedding reception -- which in turn brings a splendidly gritty, lived-in conviction to Ray Connelly's meticulous, unsparingly downbeat script. Moreover, the acting is uniformly top-notch (Essex's finely underplayed characterization is especially strong), with commendable work turned in by Rosemary Leach as Jim's doting, concerned mother, James Booth as Jim's restless and unreliable absentee deadbeat dad, and Billy Fury as hotshot lounge singer extraordinaire Stormy Tempest. A sterling cinematic testament to rock music's undying allure and magical ability to create hope in an otherwise bleak and thankless world.