"Telling Lies in America" is an extremely appealing, and convincing, tale from veteran screenwriter Joe Eszterhas that one has to assume is at least somewhat autobiographical. It tells the tale of Karchy Jonas (Brad Renfro), a Hungarian teenager who's moved with his doctor father Istvan (Maximilian Schell) to Cleveland. Taking place in 1961, before Beatlemania had become a cultural phenomenon in North America, it shows us the seedier aspects of the music and radio businesses as Karchy is taken under the wing of an ultra slick, charismatic DJ named Billy Magic, played to the hilt by a wonderful Kevin Bacon.
This is a very fine coming of age story in which a naive youth learns some hard realities about the world. Sometimes, people may seem to be your friend, but they'll really be just using you. This is also an interesting look at the immigrant experience in the U.S. of A. at a particular point in time. And, as guided by director Guy Ferland ("The Babysitter" '95), it does reasonably recreate the sights and sounds of Cleveland, when rock and soul music were really taking off. The soundtrack is an eclectic mix of golden oldies, and is supplemented by a plaintive if rather manipulative score by Nicholas Pike.
Bacon and Renfro are both excellent in the pivotal roles. Schell, Calista Flockhart as Karchy's co-worker (with whom he tries to build a romantic relationship), Paul Dooley as a priest at Karchy's school, Damen Fletcher as aspiring music star Amos, Jerry Swindall as Karchy's friend Croak, and Jonathan Rhys Meyers as a bullying classmate, all offer very effective support. Luke Wilson doesn't have a particularly interesting role, as he plays Karchy's humorless employer.
"Telling Lies in America" may earn its emotions a little more honestly if it didn't lean so heavily on that music score, but overall it's still potent and engaging.
Eight out of 10.
This is a very fine coming of age story in which a naive youth learns some hard realities about the world. Sometimes, people may seem to be your friend, but they'll really be just using you. This is also an interesting look at the immigrant experience in the U.S. of A. at a particular point in time. And, as guided by director Guy Ferland ("The Babysitter" '95), it does reasonably recreate the sights and sounds of Cleveland, when rock and soul music were really taking off. The soundtrack is an eclectic mix of golden oldies, and is supplemented by a plaintive if rather manipulative score by Nicholas Pike.
Bacon and Renfro are both excellent in the pivotal roles. Schell, Calista Flockhart as Karchy's co-worker (with whom he tries to build a romantic relationship), Paul Dooley as a priest at Karchy's school, Damen Fletcher as aspiring music star Amos, Jerry Swindall as Karchy's friend Croak, and Jonathan Rhys Meyers as a bullying classmate, all offer very effective support. Luke Wilson doesn't have a particularly interesting role, as he plays Karchy's humorless employer.
"Telling Lies in America" may earn its emotions a little more honestly if it didn't lean so heavily on that music score, but overall it's still potent and engaging.
Eight out of 10.