Purple Rain (1984) Reviews

• Eau-de-Eighties!

  cchase2000-12-18

  It's no use. Arguments about the potato-chip thin script, the haphazard direction and some of the most laughable non-acting ever photographed for a film, will prove ineffectual. Such conditions have existed in the realm of film vehicles for music stars since the genre began, (with some mind-boggling examples of the worst of the lot offered by every star from Elvis, to Frankie Avalon, to Vanilla Ice.) What you watch these movies for is not the deep plots, solid writing or impeccable direction. It's for those moments of electricity that leap off the screen, strike you right in the butt and have you dancing in your theater seat, as the magic of a performer at his or her peak, in their heyday, turns a few minutes of film into a literal celebration of life. Such is the case with PURPLE RAIN, the one film that, as far as I'm concerned, effectively captured the raw essence of the good ol' "ME" Decade. In a thinly-disguised version of the events that shaped his career and his life, The Purple One starred as a brilliant songwriter and musician simply known in Minnesota music circles as "The Kid." There are three distinct storylines, all of which have been around since Mickey and Judy put on shows for the neighborhood. One documents the intensive rivalry existing between Prince's band and the Time, fronted by the charismatic poseur and self-described "Lay-deez Man" Morris Day, (who in a satirical and self-effacing performance, manages to effectively steal every scene he is in.) The battle is waged nightly at Minneapolis' legendary First Avenue Club, (where Prince really did get his start with other leading lights like Andre Cymone, Jesse Johnson and Morris). In the second, the two frontmen battle even harder for the affections of new-girl-in-town Appolonia (Appolonia Kotero, in her debut, and biggest screen role to date.) The third reflects "The Kid's" struggle with his inner demons and the source of his problems dealing with his career and his personal relationships: the volatile, strained marriage between his equally brilliant but tragically broken father, Francis L. (Clarence Williams III) and headstrong mother (Olga Karlatos). The scenes between the three of them have provoked uncontrollable snickers with their over-the-top hystrionics, but those few moments they work, they do carry an undeniable power, and a window into "The Kid's" tortured psyche that fans were only privy to before through the music. And ultimately, that is what PURPLE RAIN is all about: the power of music to transcend, transform and uplift everything it touches for good or for ill, though good is ultimately the strongest influence it exudes. Prince's chart-topping, Oscar winning song score found The Artist at his dazzling best, and director Magnoli made a wise call including as much scintillating concert footage as possible. The Battle of the Bands sequences are wondrous to behold, with both The Revolution and The Time at their tightest, loosest and funkiest all at once. Even the vocally-deficient, amply-augmented Appolonia 6 (formerly Vanity 6) sparkles. The remaining cast all do the best they can with what moments they're given, the standouts besides Williams III and Karlatos being the hysterical rapport between Day and Time mascot Jerome Benton, and some refreshingly confrontational moments between "The Kid" and former bandmates Wendy and Lisa, which threaten at times to edge into the territory of cinema verite, rather than just popcorn-driven melodrama. But capturing one of the decade's defining cultural touchstones is the true purpose of PURPLE RAIN, and to this day, you can talk to people who can still remember where they were and what day and time it was the first time they heard "When Doves Cry." With "1999" running a close second, this was Prince's masterwork, and even though he still produces material with flashes of profane, profound, funk-fueled brilliance, he still has yet to top the creative bar he raised for himself and everybody else back in 1984.

• Much undervalued film

  The_Movie_Cat2005-10-29

  A much undervalued film that tells the story of a young musician caught in an ever-declining spiral of domestic violence. At times difficult to watch, while Morris Day is portrayed as the misogynist, Prince as the knight on (motorcycle) steed, he is still called upon to twice beat a woman as part of the screenplay. That he can do this and still emerge as a flawed but vindicated hero is credit to the writing. Prince is so free of ego in this film that not only does he portray himself as a narcissistic megalomaniac who beats women, but his most famous song is fictionalised as being written by his father and Wendy & Lisa. Even further, two of his compositions - Computer Blue (admittedly the album's weakest track) and Darling Nikki - are shown as being songs that kill off an audience. Perhaps the only concession to the Princely ego is a card that lists the (slightly shorter than Prince) Apollonia as 5'6. The nearly complete-amateur cast are mainly band members playing themselves (and reviewers who slate the actors on the terms that they've never appeared in other movies are completely missing the point), and do perfectly well under the direction. Morris Day gets most of the plaudits for his likable ham, though Jerome Benton must also get credit for bouncing off him well, particularly their stage act, which is hilarious. Day and Benton even go so far as to make an Abbott and Costello routine funny, which takes some doing. Lastly, there's Prince. While I admit to bias, I do actually think he's a pretty good actor in terms of being able to portray a low-key version of himself. Acting ISN'T his profession, this was a film made for entertainment, so anyone pointing out that the guy in the lead role isn't Robert DeNiro and thinking they're making a point is sadly deluded. I don't want this review to be a derisory attack of other people's comments, but I've even this film slated as having a low budget and being darkly lit. How would a film about domestic violence be shot, then? With full overhead spotlights and a CGI dinosaur walking into frame? The film acts almost as a perfect snapshot of the neon light and skinny tie era… until you remember that it was actually made in a world of curly perms and tinny synths, and this isn't some retro-recreation. Prince's best film with Oscar-winning music, it sees him at his zenith, and it's saddening to realise that, even though he would make some fine albums, he would never again capture this high. Post-Script, July 2016: Seeing this film again, it was clear that I'd been watching it through Purple-tinted glasses. My original score was 7/10, which is ridiculously high. My revised score of 5/10 stands as generosity by itself. A genius on record, perhaps... but on film, definitely not.

• Prince is the man! Minneapolis funk 80s style!

  heisenberg832006-01-09

  As a big-time Prince fan of the last three to four years, I really can't believe I've only just got round to watching "Purple Rain". The brand new 2-disc anniversary Special Edition led me to buy it. Wow, I was really looking forward to watching it, but I wasn't prepared for just how electric it actually is. Prince's musical performances throughout the movie are nothing short of astounding - he REALLY has the moves in this one. I am very familiar (from repeated listens) with the classic "Purple Rain" album and all its songs, but to see them in the context of the movie completely alters your perception of the tunes and lyrics - like COMPUTER BLUE, THE BEAUTIFUL ONES, WHEN DOVES CRY and PURPLE RAIN itself. There is something indescribably hypnotising about the scenes where Prince and The Revolution perform. The closing songs BABY I'M A STAR and I WOULD DIE FOR U show how much energy and sheer talent Prince was brimming with in his mid-20s (he's overflowing!), it blew me away. It even makes Michael Jackson seem inanimate even in his peak years. Prince shows you how to win the girl of your dreams - drive her to a lake, make her jump in, then drive off - absolutely hilarious stuff in hindsight. Some of the scenes are very 1980s and unintentionally hilarious but this adds to the film's overall charm. Morris Day is the coolest cat on the block (and hilarious), and when his group The Time perform THE BIRD you get to see Morris Day and Jerome Benton light up the stage Minneapolis funk style - I love their dancing in this bit, and how Benton provides Morris with a mirror mid-performance. I already can't wait to watch it again, I really can't! Extras are terrific - particularly seeing a young Eddie Murphy pre-Beverly Hills Cop admit he is a "Prince groupie".

• That's not Lake Minnetonka...

  pooch-81999-06-23

  Not terribly different from many of the 1930s-era "backstage musicals," Purple Rain sports a contrived plotline that sees Prince (in the film referred to only as The Kid) battling rival musician Morris Day for the affections of new-in-town beauty Apollonia and a shot at stardom through a secure spot on the bill at legendary Minneapolis club First Avenue. A secondary narrative thread concerns The Kid's violent home life and his attempts to protect his mother from his raging, abusive father. Anyone looking for nuance and subtlety won't find it in the acting or the direction, but Prince's stage presence is commanding, and the musical numbers are electrifying. The Academy Award winning song score (irrefutably one of the best rock albums of the 1980s) and Prince's enigmatic, magnetic personality are undoubtedly the chief components in Purple Rain's sturdy cult, but for viewers of the right age, the youthful angst, flip attitude, and bold sexuality of the film will prove to be irresistibly attractive.

• Excellent soundtrack!

  supertom-32004-02-26

  This electrifying musical has more than a whiff of egotism from it's star, the musical genius that is Prince. The film is 90 or so minutes of posing but in truth it is easy to see why it is such a cult classic. Much like other films that centre around the struggling young musician trying to be big, this has a hint of drama in it to add a dimension to the musical numbers. While this film isn't as good as 8 mile as a recent example, this is entertaining none the less and the soundtrack is much better. On the dramatic side of things the story centres around the Kid (Prince) a young artist and regular spot at a club. The owner of the club is frustrated with the Kid's arrogance and little does the Kid know that he could soon be fired and replaced by a rival. One the side the Kid's parents are having trouble, with his dad abusing her violently. During the course of the film the Kid learns a few lessons in life, and learns to appreciate his friends more. It's all stuff we have seen in coming of age dramas of course, but this is combined as a musical, a very stylised musical. The cast are good. Prince is actually quite good on the drama side, when he's not striking a pose. He seems human and relatable. Clarence Williams is very good as the abusive father as well. Appollonia Kotero makes a good debut as Princes sexy love interest. The main strength of the movie however is the superb soundtrack. The musical numbers are well staged and electrifying. Prince is no doubt a musical maestro, albeit very eccentric. When he is inspired he is great but on the flip side he will often do songs that are solely for his own taste, and occasionally his experimentation can miss-fire, but that is the same for many musical geniuses. The soundtrack for this film is excellent though, with only Sexshooter being a weak point. The show-stopping performance of Purple Rain is the standout though. It is one of my all time favourite songs. ***