SONG SUNG BLUE – Review

So who’s up for some great tunes on this big holiday…, at the multiplex? No, we’re not talking about any Christmas carols (you’re probably hearing those jingle bells in your sleep by now). We’re talking a full-fledged musical movie, though it’s not another bold brassy big-screen version of a stage musical in the wake of WICKED: FOR GOOD (though it’s really an expanding of its second act). This new release may be more in that subgenre of the “jukebox musical” as it focuses on the pop songs of an iconic star, although it’s not a biopic of him (much like ELVIS or ROCKETMAN). You see, this is a true life dramatic love story about a “tribute band” of that singing superstar. Sounds confusing? It’ll all be clear with the first few notes (and scenes) of SONG SUNG BLUE.

That title tune is heard in the opening scene, in which Mike Sardina (Hugh Jackman) serenades his AA support group after he has hit a big sobriety milestone in late 1980s Milwaukee. From there he’s off to his sweet “side gig” as part of a “tributes” show at the state fair. Mike walks out after the organizer insists that he take on the songs of Don Ho (“Tiny Bubbles”). No, Mike wants to perform the works of his idol, Neil Diamond. As he exits, Mike stops to catch the fetching Patsy Cline (“Walkin’ After Midnight”) songstress Claire Stingl (Kate Hudson). He strikes up a conversation with her later that night, leading to a date for the two divorced parents (Mike’s teenage daughter visits once a month or so). He tries to bond with Claire’s energetic pre-teen son Dayna (Hudson Hensley) and her somewhat surly teenage daughter Rachel (Ella Anderson). After a quick “jam session” Mike asks Claire if she would consider partnering with him for his “dream Diamond tribute review” that he dubs “Thunder and Lightning” (the latter being his stage persona while she’d be the former). Claire is thrilled and seals their partnership with a kiss. They assemble a back-up band and begin performing in bars, wedding halls, and eateries in the Wisconsin/Illinois area. Through it all, the two become much more than a singing duo, eventually tying the knot. Their reputation is on the rise, leading to an “opening act” slot at a Pearl Jam concert. The sky seems to be the limit, but the joyful music is almost silenced as fate hits several “sour notes” to challenge their sweet harmonies.

I’ll just get this out of the way: Jackman and Hudson are superb singers. Yeah, that’s not a big revelation, since Hugh has a couple of Tonys on his mantle and Kate cut an album (they still call them that) last year. But that skill is certainly essential in these roles in order to “sell” them as a vocal duet. As for the other aspects of their performances, Jackman may have a bit more to do, as Mike is the “entry point” to this true tale. The “movie mutant” has swagger to spare, as he pushes past the goofy hairstyle and the flashy fashions to give us a man who overtakes the inner demons from his past by reinventing himself. His furrowed brow hints at Mike’s PTSD from serving in Nam, while he still has a vulnerability with the knowledge that his body is failing him and his “time clock” may halt at any time. The bubbly Hudson brings out the best in him. Beneath that beaming smile, Claire has had lots of heartbreak in his own past, and decides to bask in the high she gets from singing. In the story’s second act, we see that life tries to snuff out that spark, until family and friends re-ignite it. It’s no wonder Hudson was the “queen of rom-coms” as she conveys Claire’s joy in getting another chance at love. The film’s other great standout is Anderson as Claire’s teen daughter, Rachel. Sure, she starts as a clichéd snarky “eye-roller”, but she shows how the love of Mike for her mom warms that cynical heart, even making her an ally of his when things get tough, and as she faces her own big life-changing decision. Oh, and there are a couple of 1980s movie stalwarts on hand for support. Fisher Stevens is solid as Mike’s dentist-backer, and Jim Belushi goes all “cheese-head” (right outta’ FARGO) as the tour bus-drivin’ manager. The 90s are repped by Michael Imperioli from “The Sopranos” as the tributes show boss (and resident Buddy Holly) who plays back-up guitar for the revue.

Though no stranger to movies with music, this film is an interesting detour for director/ screenwriter (adapting the same-titled documentary by Greg Kohs) Craig Brewer, after making his 2005 breakout hit, the hip-hop-flavored HUSTLE AND FLOW followed by the 2011 remake of FOOTLOOSE. He takes us past the high camp (exploited in 2001’s SAVING SILVERMAN) of Diamond’s 70s heyday, though we get some Elvis-style kitsch, to get us into the minds and hearts of Mike and Claire. This lulls us into thinking that their love story will always prevail. The huge chaotic challenges make for an abrupt shift (though it seems too extreme, it’s all true), one that may be too much for some viewers, Brewer never veers too much into the melodramatic while keeping the story firmly planted in its frigid northern US roots. Brewer also keeps the pacing smooth, breaking up the dialogue with a burst of song, and not overdoing the big rehearsing and performing montages. Aside from those great hairstyles and fashions, the music selection is pretty terrific, touching on all the big Diamond hits while introducing some often neglected tunes (I now know a whole lot about “Soolaimon”). Hey, there’s even a couple of Patsy Cline and Buddy Holly classics. And the set decorators really capture the tone of the early 1990s. Some of the more jaded filmgoers may think that this is merely a sweet little flick to see with your older relatives, but they may be surprised by the endearing look at the performers that don’t fill arenas, the bus-travelin’ workin’ stiff weekend warriors. That and the chemistry of Hudson and Jackman really blend for a nearly pitch-perfect romance in SONG SUNG BLUE.

3 Out of 4

SONG SUNG BLUE opens in theatres everywhere on Christmas Day, 2025