From a very pedestrian viewpoint, the Runaways were a scruffy pre-packaged all-girl rock L.A. version of that original pre-fab/anti-fab combo, the Sex Pistols. The Runaways were aimed at a fucked-up demographic by nutcase impresario, Kim Fowley, just as Malcolm McLaren aimed the Pistols. But then there's the 'enlightened' viewpoint which was like whoa, these chicks rawk! And they did lots of drugs, and were lesbians! And broke up mere minutes after reaching stardom, like true fucked-up badasses. With both pedestrian cynicism and fanboy admiration, then, THE RUNAWAYS remains kind of confused about whether its a tired meditation on dues, fame and growing up poor and/or ostracized, ala LADIES AND GENTLEMEN, THE FABULOUS STAINS, girls sticking together like a sisterhood, ala TIMES SQUARE or drugs, phoniness and flame-outs on the pursuit to one's own original artistic voice after being moulded, like ROCK STAR. Deflecting tossed beer cans with their guitar necks, cramming into small hotel rooms, the girls pay their dues. Soon they're on top of the world, then Cherie throws a hissy fit tantrum and the band is over. Little things add up to an uneasy feeling throughout. It's CROSSROADS if they welded on THE DOORS and FOXES and clanged the loosey-goosey 70s 'kids are all wrong' bell of OVER THE EDGE (still the greatest kids amok film after all these years) before running back to rehab.
Too bad about Dakota, though... tick-tock. RUNAWAYS misses some grittier possible marks in order to coddle blonde "Cherry Bomb" lead singer Curie's bratty myopia, a bad decision considering Fanning's half-hearted blank slate interpretation. Or is it just that Kristen Stewart as Joan Jett rocks so much harder and mopes so much mopier than the generally-considered-a-superior-actress Fanning that the movie grows lopsided? See that picture above, of the real Cherie? She may be acting as coy as Carmen Sternwood but those eyes are feral and dangerous, like a wild tigress I have known, like Carmen Sternwood in fact. Now look at poor Dakota below, blank as the freshly fallen snow. Carmen Sternwood wouldn't even waste a bullet on her.
I say this as someone who loves Dakota, and despite the cliche-bound script I was touched by her gut wrenching a capella "Hound Dog" in 2007 (my review here), but here she's just a shell snarling on cue and looking cute but lacking any kind of self-assertion. There are 16 year-olds out there who are going on 23 and there are 20 year-olds out there going on eleven. Dakota was an eleven year-old going on 30 but now the age of twelve seems to have caught up with her. Maybe the studio hoped Fanning would mature during the filming, grow into the role, but there are ways that girls can delay womanhood's onset, and I shudder to think that Dakota's following in so many young girls' DSM IV-certified child actor anorexic stunted growth footsteps, but in THE RUNAWAYS she's still just a half-starved deer in the headlights, not yet a she-wolf eating said deer, as nature intended. Fanning lets Kristen Stewart do all the eating while she sits in the corner, sucks her thumb, and looks coy. Is she even having fun? Does she still like to pull the wings off flies? Are you getting all these super-droll BIG SLEEP references?
Fanning's good in these moments of stoned triumph and good much later as a zonked junky in the grocery store, using her cart for support as she glides through the aisles, trying to buy two large onions and a liter of vodka from a skeptical cashier who looks distrustfully down at her blank eyes, bruised arms and shitty ID. We like that she steals her dying aunt's medication, and that she plays mind games with her copycat sister, but it's one thing to be believably fucked-up, another to turn that fucked-uppedness into rock and roll gold. Brando was a believable working class slob in STREETCAR NAMED DESIRE, for example, but that's not why the role made him an icon. He brought ferocious animal grace, he made the brute sexy in his savagery. Fanning needs that kind of ferocity. She's still eerily mature like she was in I AM SAM, but now she's clinging to a blank DARIA-style po-faced apathy. She's the FUGITIVE KIND Brando, trying to stare down adulthood in the mirror while passive-aggressively parodying one's manufactured image of godly marble enigma. And who can blame her, considering the horrors she's seen herself go through on film? Speed, anorexia and self-loathing keeps a girl 'forever young' until one day she just turns to dust or goes to rehab, or is saved by rock and roll. Yeah baby, rock and roll. But Dakota, if rock is to save your life you have to at least give a shit about it. You have to thank it, bathe in it, love it unconditionally. Otherwise you're just a poseur looking for a validation hand-out, the addictive high of adulation an excuse that prevents you from actually interacting with lesser (and everyone else is lesser) mortals.
In the end, Kristen Stewart pulls off being a rock and roll survivor just like the real Joan Jett because she taps into that feeling of how passion and genuine interest in something, getting better at guitar, for example, is a lifelong pursuit that saves you from all self-defeating distraction. Fanning / Currie never learns this, never deigns to look outside the mirror for her raison d'etre. But in Joan Jett/Kristen Stewart's case it's a love of one's craft that I call the Keith Richards life preserver.
No doubt his guitar is what keeps death at a respectful bay for Keith Richards. His love of rock and love of his guitar lift him above the druggy waves that drown lesser rock mortals. Once Joan's suffered and lost her mind and got it back through writing "I Love Rock and Roll," (the first album I ever bought), she has earned the right to be a rock goddess, the way she hadn't while on the fast track through Fowley's hype in the Runaways. She suffers and survives by grabbing onto the Keith Richards life preserver. It keeps her afloat above the AOR sharks, big money, ego stroking, and drug abuse. It's a creative outlet she can practice and play on forever and never stop improving until in this one thing she is good enough to hang her head high. That guitar stops her from sinking into the mire, and from floating away into space as well. It's like a crack in a prison wall and you know that the more you scrape at that hole, the wider your glimpse of daylight 'til one day you can just walk right out.
Alas, there is no 'out' to escape to, but you can take comfort in the fact that you'll never run out of scraping; the scraping becomes the spiritual practice --that's the Robert Johnson crossroad devil's bargain. Joan and Kristen signed the Satanic contract but Cherie and Dakota just fold it up, asking the devil if they can hold onto it and "think about it"... until indecision becomes their whole persona, and that's death if you're in a rock band. You may as well bring your mother along, like Cameron Crowe does in ALMOST FAMOUS.
As a child actress coming into adulthood, Dakota's heading into some treacherous waters... she needs a Keith Richards life preserver. She seems to have forgotten she used to have one in acting. She's a lost little girl and making personal lostness part of the role isn't the same as playing a lost little girl in such a way as to make us swoon from the cinematic complexity of your acted lostness and thus to recognize cathartically our own lostness. It's not just Cherie throwing a tantrum of indecision, it's Dakota throwing a tantrum by draining Cherie's tantrum of cinematic resonance. She's become like another child star whose precocious genius has seemed to fade, Christina Ricci (as Nathan R. writes about on Film Experience). If moviedom was their parents, Christina and Dakota would be going through a phase, a kind of passive aggressive tantrum, like Richard Burton in EXORCIST II. Sometimes too, as with Burton, if you have a rep of being a great actor, directors are skittish about telling you how bad you're sucking. And you go on auto-pilot, not realizing future generations will be cringing over your hammy bad vibe hangover of a performance for eons to come.
Since we never see the Currie spark in Fanning, we never really see what it is she lost, or if she even lost it. We can only discern that that some people were born to rock, and others to fold napkins at a gift shop and occasionally dress like Stevie Nicks. I'm not knocking napkin folding or Stevie Nicks. Most of us--myself included--leave the rock world for folding napkins sooner or later. Maybe napkins are all we can handle. Only a few go the distance like Joan and Keith, for whom no drug will ever supplant their rooted allegiance to rock, which is why they're free to do as much of them as they want. The rest of us may have rocked and had a good time, but love of rock never really supplanted our love of drugs, our love of the stage, fans, and jamming out never supplanted our longing for creature comfort. We'd rather stay home and listen to music and get high than go out on the road and deal with afternoon sound checks in barrooms still reeking of smoke, booze, sweat and vomit from the night before. We'd rather not have to worry about staying more or less sober until after the first set, which means approximately five hours in some bohunk town with nothing to do and nowhere to go except wait in a smelly bar that reeks of booze and you're not allowed to drink until a half an hour before the first set, so you sit there in the corner and the pre-show jitters and last night's hangover make every hour stretch like days. But then, Boom! A double shot of tequila, lemon, hit the stage and it's all worth it. That's the rock and roll experience, or it was for me. So I quit, because a beer-soaked, cigarette and vomit-scented bar is a terrible thing for a sober person to have to smell for hours on end. And while I hope Dakota doesn't turn out like I did, on the other hand, you can't hang in the doorway forever deciding if you want to endure that horrid wait in order to be an actress or not. As for the real Cherie Curie, she finally found her own Keith Richards life preserver... chainsaw sculpture!
Saw on, big sister!