GamerTab That was an excellent one.

Phonearl Good start, but then it gets ruined

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Curt Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

Michael O'Keefe The Idolmaker, written by Edward Di Lorenzo, is based loosely on the life of Bob Marcucci, who had big dreams of making it big in the music business. Not actually having the look of a rock star, Bob was able to write a decent tune. Marcucci would make his mark as promoter/producer and discovering singers Frankie Avalon and Fabian. Vincent Vacarri(Ray Sharkey)finds a young sax player and changes his name to Tommy Dee(Paul Lind); Rehearsing and training him in posturing him into being a young singing heartthrob. He though the young record buyers needed one since Elvis was in Army. Dee becomes a star and wants to go into movies; he has to leave Vacarri's management to do so. No fear, the fiery promoter has already got another exotic singer in the fold...Caesare(Peter Gallagher). There is a problem in that his newest pretty boy can't really sing a lick. Plaster the kid's picture everywhere and keep him from singing too much in public. With the help of his song writing partner Gino Pilato(Joe Pantoliano), an idol is made. But all is not well with the music world.Keeping in mind that Gallagher's character is based on the teen idol Faban...kudos. Not only does Gallagher look the part, but provides some pretty good tunes like "Baby", "However Dark The Night" and "It's Never Been Tonight Before". A major portion of the soundtrack is written by famed tune-smith Jeff Barry. Also featured in the cast: Tovah Feldshuh, Maureen McCormick and Olympia Dukakis. I really enjoyed this movie due to the fact I love the music from this era. Avalon nor Fabian ever became another Elvis...but who in the hell could?

Cindy Reynolds This one's a movie I never was able to get tired of, so I finally purchased it online. The music is catchy and irresistible, the electrifying Ray Sharkey was at his usual best and, according to IMDb, this was Peter Gallagher's first movie. As Gallagher's various profiles indicate, he performed in a band early on, and whatever he drew from that makes him shine on stage in Idolmaker. Now he's releasing CD's of his singing and original songs - go figure. Obviously the late great Sharkey didn't invest that theatrical gene in Gallagher, but he and this movie can only have nourished and enhanced it. Sharkey truly was a tiger tiger burning bright and he never shone brighter than as the Idolmaker. Olympia Dukakis was perfect as the Idolmaker's mother. Color me surprised; that actress can do no wrong, in my opinion.The music in this film is a huge part of its charm, as has been said before. And it looks like more of the movie was choreographed than just the stage scenes and Vinnie's training of his would-be stars; the whole thing just ends up being served up as perfectly as a 5-star gourmet dinner.

glentom1 I first saw this movie on HBO in 1981. At that time HBO only showed box office flops. The supposedly really good ones would not get on HBO for 3 or 4 years.I just saw it again tonight, after 23 years, and I still enjoyed it. The music is great, the acting is great, and the plot is great.What is there not to like about it? I tried watching Chicago in 2002, the academy award winner, and it was a piece of crap. It was a combination Alfred Hitchcock/Showboat/Singing in the Rain movie, that was a total flop in my opinion. I much more enjoyed this movie.There are a few slow points in the movie, but they don't last for long. There is such energy and vivacity in this movie that it holds your attention as it builds up continually to the next "Idol."The songs stick in your mind (at least in mine), but they are always "in the wings" of the Ray Sharkey character. For example, the first idol he made, Sharkey is shown off stage mimicking the singer's moves.Anyway, it is a fun movie to watch, and one of a kind for its time, so I highly recommend it!

Poseidon-3 On the heels of "Grease" (which created a brief wave of '50's nostalgia), but at the same basic time as "Can't Stop the Music" (which was a glitzy, ridiculous bust) this unusual semi-musical film made it's debut and sort of drifted into obscurity afterwards. The story showcases the exploits of Sharkey, a songwriter with drive and creativity to spare, who desperately wants success in the music business, but realizes that he doesn't have what it takes physically to make it. He plucks a slightly more attractive kid (Land) out of a local band and forges him into a singing sensation, planning each detail and exacting control over him. Once Land is solidly in place, Sharkey starts in with young Gallagher to repeat his success (partially to prove himself to his own father.) Feldshuh is a teen magazine editor who finds herself caught up in the hoopla of these prefab idols and in Sharkey's enthusiasm. The film has several things going for it, not the least of which is Sharkey's terrific performance. He is completely believable and compelling in the role, his charisma taking the story a long way. The always reliable Feldshuh (who recently made a minor splash in "Kissing Jessica Stein") is saddled with a pretty demeaning role, yet manages to get in a few decent moments. There are several moderately recognizable faces in the cast who do nice jobs (including a nearly unrecognizable Pantoliano.) Land, who showed promise in this film, somehow completely petered out shortly after, as did Pec, who makes an impression as Sharkey's mobster-like father. Gallagher (playing a 16-year-old at 25!) is also showcased to good effect, despite the occasional silliness of the material and a lot of make-up. What keeps the film from becoming fully satisfying is the limited period detail (mostly just some cars, a few poodle skirts and some fun knit tops and peg legged pants), the predictability of the story (a manager who creates stars and then loses them to their own ego is hardly a fresh concept!) and the sometimes disjointed flow of the script (ironically, this is due mostly to the decision to present the numbers intact....many viewers will appreciate this, but it leaves little room for characterization and connecting plot points.) Characters appear and disappear and have sudden changes of attitude. However, the film is not really deep enough to have allowed for a longer running time. Also, the numbers are more along the lines of the '80's than the early '60's. This doesn't mean they aren't entertaining....just not accurate. They are sort of early '60's song run through an early '80's filter. Adding to the camp factor are McCormick (trying to escape her "Brady" stigma as a tarty journalist) and Merv Griffin's favorite dancer Terrio as the choreographer of the decidedly un-'60's numbers. Despite Sharkey's romance with Feldshuh, there is a somewhat homoerotic feel to his obsession with the boys. Sadly, in real life, Sharkey died of AIDS in 1993. Director Hackford would later direct the blockbuster "An Officer and a Gentleman" which also dealt with life makeovers.