“Jesus H. Tap-Dancing Christ, I Have Seen the Light!“
Anyone who grew up in the 80s or 90s will very likely hold a torch for the 1980 classic, The Blues Brothers.
I, for one, can’t hear those three words without cracking a little smile. Those familiar with the film will know that it holds a similar die-hard cult fanbase, similar to that of the other bangers of its generation, such as The Goonies and the Back to the Future trio. The only difference is The Blues Brothers managed to hire the legendary James Brown as a fuchsia-wearing, gospel-singing priest, and Aretha Franklin as a sweary, no-nonsense café owner. Does this make it better than its box-office rivals? Yes, yes it does (in my humble opinion, anyway.)
The Blues Brothers turned 40 last week, so to celebrate, I decided to don my rose-tinted glasses (or in this case, my black wayfarers) and take a little stroll down memory lane to look at how this bonkers little movie is still relevant (and wonderful) today.
So, gosh. Where to begin?
I think with the crux of the film, which is the music. The musical performances in the film are so effin’ good, it’s unreal. As a huge music lover, (even as a wee whippersnapper, when I first saw this movie), what makes TBB stand in its own unique league is the killer musical performances that transcend the rather silly plotline (“We’re on a mission from God!”) from silly crime caper to musical velociraptor. What did it for me (and still does) is the incredible RnB guests, that range from John Lee Hooker to Ray Charles. Even a young Chaka Khan makes an appearance!
“Boys, you gotta learn not to talk to nuns that way!”
For those who like their soul and RnB music coupled with rib-tickling humour from the vintage Saturday Night Live alumni, this movie is right up your alley. For those who haven’t seen it (do, obviously. It’s currently on Netflix) the story follows Chicago brothers, Jake and Elwood Blues – two guys who love their blues music, but just can’t seem to stay out of mischief. Elwood picks Jake up from prison in his grubby, shitty 1970 Dodge Sudan, (which happens to be a former police car) of which quite literally becomes the vehicle that gets the boys both in and out of all manner of trouble.
Their first port of call is to the formidable and slightly terrifying Reverend Mother (more affectionately known to the boys as The Penguin) at the orphanage they grew up in. This visit goes hilariously awry very quickly, (cue much swearing and a tumble down the stairs whilst stuck in an old-fashioned wooden desk/chair thingy-ma-bob, that is clearly aimed at persons of 12 years and under) but not before the Penguin reveals to them that the orphanage will be closed down unless it can come up with $5000 and fast.
Challenge accepted.
They then motor over to a church, where James Brown’s character invokes the light of God Almighty himself (yep, felt bonkers writing that entire sentence) and Jake has an epiphany of getting their band back together to raise money to save the orphanage.
What ensues is a hilarious series of music-based shenanigans, including the rehiring of their old band – most of whom are more than somewhat dubious, on account of the lies, bullshit and petty con jobs that Jake and Elwood inadvertently managed to rope them into back in the day. Finally reluctantly agreeing, the guys embark on a series of gigs, which as wonderful as they are, somehow manage to piss off everyone they come across. This ranges from every state trooper in the entire Illinois area, to a group of Nazis, to Twiggy… of all people.
And everyone in between.
It’s just crackers, the entire thing. But so much fun. The film also still holds the record for the biggest car pile-up in cinematic history. It’s also up there with most amount of cocaine snorted behind the scenes, but that’s a different story for a different day.
So, where are we now, forty years later?
Well, sadly we’re sans half of the cast. Everyone from John Candy, Carrie Fisher, and Ray Charles, to most of the band themselves (including the horribly untimely death of John Belushi less than two years after the film’s release) are no longer here to enjoy all the fun and laughter that 2020 has brought us… *ahem*
Some of the political events that occur in the film still echo today, particularly the infamous “Illinois Nazis… I hate Illinois Nazis” scene, when Jake and Elwood launch their car towards a group of marching Nazis, forcing them to jump off a bridge and into a river to escape being hit. This causes a crowd of angry anti-Nazi protesters to cheer and laugh. The scene, as hilarious as it is, highlights the sad fact that white supremacy culture still lurks within our society today, but with the implication of the anti-Nazi protester mass being much larger than the white supremacists themselves, offers the feeling of general solidarity, and that love is always stronger than hate.
There is also a scene in which the boys are sat having a drink with Cab Calloway, and behind them are posters clearly depicting the faces of Martin Luther King, Malcolm X, John F. Kennedy and Bobby Kennedy, which is an obvious nod to the Civil Rights Movement. It’s moments like these that suggest, although the film is wacky, it also broods with obvious sentiments that nod towards the dark history behind blues and black Gospel music, outlining that yep, it’s nice to have fun and enjoy this music for what it is, but to also never forget where it came from.
“He broke my watch!”
The filming was by no means a smooth production. Much like Jaws, three years prior, it was marred with complications, temporarily halted by certain talented but troubled cast members (*coughs* John Belushi) and went horrendously over its budget; with producers having to beg, borrow or steal any rights they could for permission to shoot on location.
The car stunts alone are something of near-genius, given the time period. No use of CGI was implemented either. It’s just good old-fashioned filmmaking. Kooky, hilarious, and full of classic one-liners. If bucket list films are a thing, this should definitely be at the top of it.
[All words are my own and are subject to copyright, with the exception of the quotes which obviously come from the movie. Image is not mine. No copyright infringement intended.]
clarataylor 