The Runaways 2010

In the gritty rock ‘n’ roll odyssey, The Runaways, based on the memoir “Neon Angel” by Cherie Currie, the film takes a poignant and cautionary journey through the highs and lows of fame. Much like David Bowie’s iconic song “Space Oddity,” which serves as a metaphor for the narrative, the story hurtles forward on a trajectory of rapid ascension, only to succumb to disorienting disillusionment and exhaustion - a far cry from the euphoric rush of stardom.

The film launches in 1975 with Cherie (Dakota Fanning), a 15-year-old novice, struggling to come to terms with the onset of puberty. Her older sister Marie Currie (Riley Keough) shares this pivotal moment with their beau Derek (Brendan Sexton III), as they depart from Marie’s fast-food job at “Pup n’ Fries.” The tension is palpable as Marie reveals to Derek that Cherie has gotten her first period, and in a bold move, she discloses that Marie isn’t wearing underwear - an unexpected twist that sets the tone for the tumultuous journey ahead.

Meanwhile, Joan Jett (Kristen Stewart) is a teenage rebel yearning to escape the drudgery of her mundane existence. She indulges in a joint-smoking session with her girlfriend, lamenting her lack of stardom and seeking solace in music as an antidote to her loneliness. Cherie, still finding her footing, channels her inner David Bowie by cutting her hair into a shag and adorning herself with makeup, mimicking the iconic cover art from his album “Aladdin Sane,” which hangs prominently on her wall.

The film’s early scenes also introduce Cherie’s fledgling musical ambitions. At her high school talent show, she takes to the stage, lip-syncing David Bowie’s haunting ballad “Lady Grinning Soul.” However, her performance is met with catcalls and ridicule from the audience - a far cry from the euphoria of stardom. Undeterred, Cherie reacts by defiantly flashing both middle fingers at the crowd, earning her the unexpected victory in the talent show.

As the night wears on at a bustling nightclub, Joan Jett (no actor mentioned) finds herself entwined with a mystery man outside when her gaze falls upon record producer Kim Fowley (Michael Shannon), who’s lingering near the entrance. With an air of curiosity, Joan approaches Kim and launches into a passionate pitch about forming an all-female rock band. Kim’s ears perk up at the prospect, and he introduces Joan to Sandy West (Stella Maeve), a drummer with a fiery spirit. As the trio clicks, Kim suggests they recruit a sultry blonde in the vein of Brigitte Bardot - a vision that soon becomes reality when they discover Cherie, a stunning newcomer who’s more than happy to join the fray. That very night, Kim and Joan embark on a mission to find the perfect lead singer at the same nightclub, where they’re introduced to Cherie’s captivating energy.

In a moment of creative inspiration, Kim proposes an impromptu audition for Cherie, and with Joan by her side, they craft ‘Cherry Bomb’ on the spot. The song is a hit, and Cherie nails the performance, securing her position as the band’s lead vocalist. As their lineup solidifies, Kim adds Lita Ford (Scout Taylor-Compton) to the mix, bringing a wealth of guitar skills to the table, alongside Robin (Alia Shawkat), whose bass lines provide the perfect foundation for their sound. At the local roller rink, Joan and Cherie share a tender moment that hints at the complexities to come.

Fast-forward to 1976, when Cherie finds herself on the road with the band as ‘The Runaways’, with Kim at the helm, scheming ways to maximize their earnings. The group’s popularity skyrockets, and they soon find themselves signed to Mercury Records, with an album in the works. As the pressures of touring intensify, Joan and Cherie succumb to the rockstar lifestyle, indulging in a cocktail of pills, pot, coke, and booze. Another year passes, and ‘The Runaways’ embark on a Japanese tour, where Cherie makes headlines by performing topless at their debut show. However, when her sister calls with news that their ailing father is struggling with addiction, Cherie’s response is eerily apathetic, signaling the beginning of a downward spiral that will test the bonds of friendship and fuel the band’s destructive trajectory.

As the aftermath of another rousing performance settles, Lita’s ire is piqued as she confronts Cherie with a barrage of magazines featuring the latter in provocative poses for a Japanese publication. Unbeknownst to Cherie, this was not a solo endeavor, but rather a collaborative effort between the entire band. The ensuing argument culminates in a chaotic scene, as a group of ardent fans, fueled by their idolatry, shatter a window and chase the girls from the building. In a desperate attempt to escape the commotion, Cherie retreats to the hotel room, only to succumb to her inner turmoil and overdose on pills. Miraculously, she survives this harrowing experience, but the psychological scars linger.

Upon returning home, Cherie is met with an unsettling sight: her father, beset by his own demons, lies passed out on his bed. In a moment of desperation, she resorts to pilfering his painkillers, an act that would later be witnessed by Marie. This compromising situation serves as a precursor to the unraveling of Cherie’s psyche.

As tensions simmer within the band, a recording studio becomes the backdrop for a series of escalating confrontations. A cruel magazine article, penned by Kim, proves the final straw for Cherie, who suffers a nervous breakdown and refuses to sing alongside her bandmates. Despite Joan’s valiant attempts to defend her, Lita’s vitriolic outbursts ultimately prompt Cherie to quit the group, leaving her former companions in stunned silence.

The aftermath of this implosion finds Cherie adrift, her sense of identity in tatters. Eight months later, she finds herself at rock bottom, collapsing in a phone booth amidst the desolate surroundings of an abandoned supermarket parking lot. A chance visit from Marie serves as a wake-up call, prompting Cherie to seek solace in a rehabilitation facility.

In the years that follow, Cherie struggles to rebuild her life, taking on a job at a local bakery and slowly piecing together the shards of her shattered existence. It is during this period of quiet reflection that she stumbles upon Joan’s cover of “I Love Rock ‘n’ Roll” on the radio, a song that serves as a poignant reminder of their shared past. As Cherie listens to Joan’s smooth rendition, she musters the courage to place a call to the station, where she engages in an awkward yet ultimately cathartic phone conversation with her former bandmate and the radio host, Rodney Bingenheimer. With a newfound sense of resolve, Cherie bids farewell to the past, choosing instead to focus on forging a brighter future. As Joan’s next song, “Crimson and Clover”, fills the airwaves, Cherie smiles wistfully, acknowledging that even the most turbulent of journeys can ultimately lead to redemption.