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Get Crazy
Theatrical release poster
Directed byAllan Arkush
Written by
Produced byHunt Lowry
Starring
CinematographyThomas Del Ruth
Edited by
Distributed byEmbassy Pictures
Release date
  • August 5, 1983 (1983-08-05)
Running time
92 minutes
CountryUnited States
LanguageEnglish
Budget$5.5 million[1]
Box office$1.6 million[2]

Get Crazy is a 1983 American musical comedy film directed by Allan Arkush, and starring Malcolm McDowell, Allen Garfield, Daniel Stern, Gail Edwards, and Miles Chapin.

Plot

[edit]

It is December 31, 1982, and the Saturn Theater is preparing for its big New Year's Eve concert under the direction of owner and master showman Max Wolfe (Allen Garfield, credited as Allen Goorwitz), who has operated the Saturn since 1968. Assisting Max are stage manager Neil Allen (Daniel Stern), and visiting former stage manager Willy Loman (Gail Edwards). Also caught up in the wild activity is beleaguered stagehand Joey (Dan Frischman), temperamental lighting director Violetta (Mary Woronov), and Neil's younger sister Susie (Stacey Nelkin).

Max Wolfe holds a 30-year lease to the theater, but reptilian concert promoter Colin Beverly (Ed Begley Jr.) has other ideas. Beverly offers to buy Max out of his lease with what seems to be a generous deal at Beverly's concert auditorium and stadium, but Max refuses, ultimately becoming so incensed that he collapses of an apparent heart attack. Outside, Max's ingratiating nephew Sammy (Miles Chapin) informs Beverly that he stands to inherit the theater from his uncle, and Beverly offers Sammy the same deal he offered Max—if Sammy can get Max's signature on an agreement to transfer the Saturn's lease before midnight.

The various performers for the show are introduced:

  • Captain Cloud (the Turtles' Howard Kaylan) and the Rainbow Telegraph—Max Wolfe's favorite band and a spoof of Strawberry Alarm Clock—arriving in an aging bus that is painted à la the Merry Pranksters' Furthur.
  • Nada (Lori Eastside from Kid Creole and the Coconuts) and her 15-member band (a spoof of such girl groups as the Bangles and the Go-Gos) playing an amalgam of many disparate styles of music that appeared on MTV in the early 1980s—part bubble-gum pop, part New Wave, part garage rock. They are joined by "Special Guest Star" Piggy (Lee Ving of the L.A. punk band Fear).
  • King Blues, the King of the Blues (Bill Henderson), a spoof of Muddy Waters (and, to a lesser extent, Bo Diddley and B. B. King).
  • Auden (Lou Reed), "metaphysical folk singer, event of the '70s, [and] antisocial recluse", a spoof of Bob Dylan. Auden, who initially complains of writer's block, is coaxed into appearing by being made to think that Max is close to death, but, after blithely asking a taxi driver to take the "scenic route," he spends the majority of the movie on his cab ride, improvising lyrics for the song he intends to perform.
  • Reggie Wanker (Malcolm McDowell), "20 years of rock and roll and still on top", a spoof of Mick Jagger; featuring his drummer Toad played by John Densmore of The Doors. Wanker is beset by a general malaise, unable to fully enjoy his lavish situation of easily available women and drugs.

King Blues opens the show, performing two of his "own" hit songs, "The Blues Had a Baby and They Named it Rock and Roll" (by Muddy Waters) and "Hoochie Coochie Man" (by Willie Dixon). Next the Nada Band take the stage and perform "I'm Not Going to Take It No More." Piggy leads the band in a viciously punk-rock version of "Hoochie Coochie Man," complete with stage dives and slam dancing. Reggie sings a celebration of egotism, "Hot Shot," then moves on to his own version of "Hoochie Coochie Man".

As the show proceeds, Sammy tries to find ways to sabotage the theater, including fueling a fire in the basement and cutting the fire hose. Colin Beverly's henchmen, Mark and Marv (former teen heartthrobs Bobby Sherman and Fabian), give Sammy a bomb, which he plants in the rocket ship that Max will ride during the final countdown to midnight.

Willy overhears Mark and Marv talking about the bomb, and is captured by them and locked in the trunk of Colin Beverly's limousine. She escapes when the limo collides with Auden's taxicab, and runs back toward the theater. Only moments before midnight, Willy reaches the theater and tells Neil about the bomb. As the seconds tick away, the bomb is thrown from person to person out of the building, landing in Colin Beverly's limo just as it pulls up to the curb. The last second ticks away, the bomb explodes, everyone shouts "Happy New Year", and Captain Cloud leads the crowd in "Auld Lang Syne".

Quickly after, the crowd and bands exit the theater, just as Auden finally walks in. Max gives Neil the lease to the theater, saying he intends to retire. Neil offers partnership to Willy. The end credits roll while Auden sings "Little Sister" to the sole remaining patron, Susie. The dedication at the end of the film reads, "Thanks for the memories to the entire staff of the Fillmore East 1968–71."

Cast

[edit]

Production

[edit]

Arkush later said that everything based in the film was "based on real stuff, and I wish I could remake it as a realistic movie. But the only way I could get it made at the time was to do the Airplane! version of it. My second film, Heartbeeps (1981), had been a complete failure, and I was desperate to do a movie about something I really knew and cared about." He claims that producer Herbert F. Solow "was pretty much of a jerk. Whatever I’d suggest, he’d counter with another suggestion. It was just the way he was: everything he heard, he said “no” to... but he would take the germ of what you said, and put his own spin on it." In particular, the director claims he wanted to cast Mariska Hargitay, Jerry Orbach and Tom Hanks in the parts ultimately played by Stacey Nelkin, Allen Garfield and Daniel Stern, respectively, but Solow refused.[3]

Concert scenes, as well as exterior shots of the marquee, were filmed at the historic Wiltern Theatre in Los Angeles, California. The theatre had been poorly maintained for years prior to filming, and was about to undergo a major restoration to return it to its former glory. According to Malcolm McDowell, "We trashed it just before they restored it. They knew we were going to do it, so they didn't mind."[4]

All actors performed their own vocal tracks, although none (except Lou Reed) wrote their songs. Malcolm McDowell specifically requested that he be allowed to sing as a condition of his contract.[4]

Director Allan Arkush appears during "Auld Lang Syne", throwing frisbees from the wings while wearing his Fillmore East usher's T-shirt.

A few actors featured in the 1982 film Eating Raoul also appear in Get Crazy, including Paul Bartel, Mary Woronov, Susan Saiger and Ed Begley, Jr. as well as the stunt crew consisting of Bruce Paul Barbour and Rick Seaman.

Reception

[edit]

Get Crazy was released on August 6, 1983 to mixed reviews. Box office sales were tepid. Its domestic gross totaled US$1,645,711, and its theatrical run was brief.[2]

Arkush said that, "the scam they came up with to release it was to sell the shares in it to some Wall Street tax shelter group, and then put it out so it would lose money… just like The Producers (1968)! So nobody saw it—on purpose! It was so horrible to work so hard on something, and then see it just thrown away. The audiences that saw it didn’t get it. They didn’t understand how there could be a rock concert with all these different kinds of acts. My take on it? It’s a movie with three thousand punch lines, but only a thousand jokes. There’s too much zaniness, and not enough human comedy. It’s just too bizarre."[3]

Critical response

[edit]

Janet Maslin of The New York Times called it "hip" and "good-natured" and wrote, "[It] isn't for everyone, but those well-disposed toward rock will find it energetic and funny."[5] The 2021 Get Crazy special edition Blu-ray release was called by critic Peter Sobczynski of RogerEbert.com, "Still as weird and wild as it was when it first came out, this movie is ripe for rediscovery."[6]

Distribution

[edit]

Embassy Home Entertainment released the film on VHS in 1984. Director Allan Arkush had stated that a DVD release was unlikely, due to issues with the sound elements.[7]

The Embassy Home Entertainment VHS release is a fullscreen transfer using the open matte technique. As a result, the video shows (nearly) the full width of the theatrical release but occasionally reveals overhead boom microphones and other items that would be hidden when projected to a standard 1.85:1 ratio.

Kino Lorber has released the film for the first time on Blu-ray and DVD in December 2021 under a new 2K restoration and a slew of bonus features.

Soundtrack

[edit]

The soundtrack to the film was released exclusively on LP in 1983 on the Morocco imprint of Motown Records, catalog number 6065CL.[8] "Get Crazy" and "Hot Shot" were released together as a single to promote the album.

US vinyl-LP and cassette
  1. "Get Crazy" – Sparks - 3:35
  2. "You Can't Make Me" – Lori Eastside & Nada - 3:02
  3. "Chop Suey" – The Ramones - 3:55
  4. "It's Only a Movie" (a.k.a. "But, But") – Marshall Crenshaw - 2:40
  5. "Little Sister" – Lou Reed - 6:09
  6. "I'm Not Gonna Take It" – Lori Eastside & Nada - 3:21
  7. "Hot Shot" – Malcolm McDowell - 3:18
  8. "The Blues Had a Baby and They Named It Rock & Roll" – Bill Henderson - 3:24
  9. "Hoochie Coochie Man" – Fear - 2:34
  10. "Starscape" – Michael Boddicker - 1:36
  11. "Auld Lang Syne" – Howard Kaylan & Cast - 2:36

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Get Crazy

View on Grokipedia
from Grokipedia
Get Crazy is a 1983 American musical directed by , focusing on the chaotic efforts to stage a massive at a historic theater on the brink of closure. The story revolves around small-time promoter Max Wolfe, who organizes the event to save the venue, only to face sabotage from rival mega-promoter Colin Beverly, amid a whirlwind of backstage antics, romance, and performances by various musical acts. Released on August 5, 1983, the R-rated film runs 92 minutes and blends humor, music, and of the rock 'n' roll industry. The screenplay was written by Danny Opatoshu, Henry Rosenbaum, and David Taylor, drawing inspiration from the vibrant rock scene of the era, with the plot unfolding almost entirely at the fictional Saturn theater, evoking iconic venues like . Key characters include Wolfe's assistants Neil Allen and , who navigate drugs, violence, and interpersonal drama while ensuring the concert's success. The film features a mix of original songs and performances, capturing the energy of rock culture through exaggerated, comedic lenses. Starring as the scheming Colin Beverly, as the beleaguered Max Wolfe, and Daniel Stern as Neil Allen, Get Crazy boasts a diverse ensemble including , Stacy Nelkin, and . Notable cameos by musicians such as (as Auden), Bill Henderson, of , of , of , Bobby Sherman, and Fabian add authenticity and star power to the musical sequences. These appearances highlight the film's tribute to rock history, with performance often cited as a standout. Distributed by and released theatrically in the United States, Get Crazy was edited by Kent Beyda and Michael Jablow, with a score that amplifies its high-energy vibe. Though it received mixed reviews upon release for its over-the-top style, the film has since gained a among rock enthusiasts for its witty and nostalgic appeal. It holds a 65% audience score on based on over 500 ratings, praised for its fun cameos and lively concert scenes.

Development and production

Concept and writing

The film Get Crazy was conceived as a comedy depicting the chaotic final concert at a fading rock venue, drawing inspiration from the vibrant and tumultuous energy of 1970s rock concert scenes, particularly those at the in , where director had worked as an usher and lighting technician during his youth. The screenplay's initial draft was written by Danny Opatoshu, a fellow alumnus and Arkush's film school acquaintance, who infused the script with satirical elements critiquing the excesses of the music industry, including corporate sabotage and performative absurdity. Subsequent revisions were contributed by Henry Rosenbaum and David Taylor, expanding the narrative to incorporate a blend of zany humor, live musical performances, and a central plot involving threats to the theater's survival. Arkush, known for his earlier work on rock-themed comedies like (1979), envisioned Get Crazy as a broad, farce-driven satire reminiscent of Airplane! (1980), emphasizing rapid-fire gags amid the frenzy of a multi-act concert lineup. The film's credits include a dedication to East, acknowledging its influence as a cultural hub for groundbreaking rock performances by artists such as and The Who, which informed the script's portrayal of backstage mayhem and audience pandemonium. Producer played a key role in refining the screenplay, steering it away from Opatoshu's more period-specific focus on nostalgia toward a heightened comedic tone that integrated musical interludes with elements of sabotage and ensemble hijinks, ensuring broader appeal for . Development progressed swiftly after Arkush's previous project Heartbeeps (1981) underperformed; the script was finalized in early 1982, leading to greenlighting production later that year. This timeline allowed for a modest budget and a roster of rock cameos, aligning with the film's intent to capture the anarchic spirit of live music venues on the brink of change.

Casting

The principal casting for Get Crazy featured in the role of Reggie Wanker, the flamboyant rock star headliner, selected for the role after initial plans for Sparks frontman fell through due to the latter's inability to commit amid scheduling conflicts. portrayed Max Wolfe, the eccentric owner of the Saturn Theatre, bringing his experience from earlier character-driven roles to the production. Daniel Stern was cast as Neil Allen, the harried stage manager, a role inspired by director Allan Arkush's own experiences as a usher and reflecting the everyday chaos of concert production. Supporting roles included as Willy Loman, the resourceful production assistant, and as Sammy, a young enthusiast navigating the backstage frenzy. appeared as Colin Beverly, the scheming rival concert promoter, eager to take on the comedic part alongside cameos from and Fabian. and rounded out notable smaller roles, marking crossovers from their appearances in the 1982 , which added a layer of familiar ensemble chemistry to the production. The casting process was marked by significant challenges, including disputes between director and Herbert F. Solow, who frequently clashed over selections, particularly for musical performers, with producers offering what Arkush described as misguided advice and contesting nearly every decision. Auditions and negotiations proved arduous; for instance, McDowell initially turned down the role of , mistaking the script for a project, before being persuaded upon a second reading, while high-profile musicians like , , and were approached but unavailable. was initially secured for a segment but withdrew due to health issues, replaced by Bill Henderson. A key emphasis in casting was authenticity in musical performances, with many actors and cameos required to deliver their own vocals to capture the raw energy of rock concerts; was secured as the reclusive folk singer Auden after Arkush impressed him with detailed knowledge of Reed's catalog during negotiations, though Reed later expressed dissatisfaction with the script's humor, necessitating schedule adjustments for his two-day shoot. McDowell, lacking strong singing ability, had his musical numbers adapted into dramatic spoken-word interpretations to suit his strengths.

Filming

Principal photography for Get Crazy took place primarily at the Wiltern Theatre, located at 3790 in , , during the summer of 1982 over a compressed one-month schedule. This historic venue, then undergoing renovation and serving as a soundstage, provided an authentic concert hall atmosphere central to the film's chaotic rock show setting. Additional exterior shots involved closing streets like and Western for sequences featuring helicopter landings and car chases. Cinematographer captured the proceedings on 35mm film using Panaflex cameras and spherical lenses, formatted at a 1.85:1 to convey the energy of a live event. His work emphasized the frenetic pace of the production, including practical stunts like a multi-part stage dive inspired by Pop's performances at the nearby . The production encountered several challenges, including the tight timeline necessitated by the film's 1983 storyline, which demanded an August release to capitalize on thematic timeliness. Coordinating live musical performances with artists such as , , and the added complexity, requiring precise choreography and multiple takes to integrate seamlessly. As an independent production from , Get Crazy operated on a modest estimated budget of $5.5 million, with the studio managing key logistics amid financing constraints from a group.

Narrative and cast

Plot summary

The film is set on 1982 at the Saturn Theater in , a historic venue on the brink of closure due to financial woes, where veteran promoter Max Wolfe organizes a massive as a last-ditch effort to save the theater and pay off its debts. Headlined by the egotistical British rock star Reggie Wanker, the event features a lineup of eclectic performers including the folk band led by Captain Cloud, musician King Blues, punk singer Nada backed by guitarist Piggy, and the reclusive Auden, all amid the chaotic preparations for a midnight finale where Max plans to make a dramatic entrance riding a ship onstage. As the evening unfolds, sleazy mega-promoter Colin Beverly schemes to the to force Max to sell the theater's lease for demolition and redevelopment, enlisting Max's opportunistic nephew Sammy and a pair of bumbling henchmen, Mark and Marv, to create disruptions such as starting fires in the basement and planting a in the rocket ship intended for Max's entrance. Stage manager Neil Allen, assisted by his ex-girlfriend and fellow crew member , scrambles to manage the escalating backstage mayhem, including equipment malfunctions, hallucinogenic mishaps from spiked water supplies, romantic entanglements, and the tardy arrival of Auden, who spends his cab ride composing a new . Subplots interweave performers' antics—such as Reggie's diva-like demands and Captain Cloud's peace-and-love idealism—with the growing threats, blending frenetic and musical interludes as despite the odds. In the climax, as the concert builds to its peak with Reggie's high-energy performance, Neil and Willy uncover and foil the , including defusing the and extinguishing fires, ensuring the event proceeds without catastrophe. The resolution arrives triumphantly at midnight, with Max's rocket ride launching successfully amid fireworks and the crowd's celebration ushering in , securing the theater's future through the concert's success and capping the non-linear frenzy of drama, music, and absurdity. After the show concludes, the tardy Auden finally arrives and performs an acoustic rendition of "Little Sister" to the lone remaining patron during the .

Main cast and characters

as Reggie Wanker, the egotistical British rock star headlining the concert. as Colin Beverly, the sleazy mega-promoter intent on sabotaging the rock show at the Saturn Theater to advance his own agenda. plays Max Wolfe, the eccentric owner of the historic Saturn Theater, who rallies his team to stage a spectacular concert in a desperate bid to prevent the venue's demolition by developers. Daniel Stern stars as Neil Allen, the harried stage manager tasked with overseeing the chaotic preparations and execution of the multi-act concert amid mounting obstacles. Gail Edwards embodies , a former stage manager and aspiring performer who returns to lend her expertise, discovering opportunities for romance and professional rivalry in the high-stakes environment. Miles Chapin appears as Sammy Fox, Max Wolfe's youthful nephew and reluctant intern, who becomes entangled in the backstage frenzy while learning the ropes of the music business.

Musical cameos

In the 1983 film Get Crazy, several prominent musicians made cameo appearances as performers during the chaotic concert at the fictional , contributing to the movie's energetic portrayal of rock culture. These cameos were filmed live at the Wiltern Theatre in to capture authentic rock performance vibes, emphasizing improvisation and raw stage energy. Lou Reed portrayed Auden, a reclusive, Bob Dylan-inspired poet-musician who arrives dramatically late in a taxicab, strumming his guitar while interacting with characters like Susie (Stacy Nelkin) in improvised scenes that highlight his eccentric persona. Reed delivers a mesmerizing spoken-word performance evoking his own style, followed by a rendition of "Little Sister" during the closing credits, where he performs solo in the empty theater alongside Nelkin, adding a poignant, introspective close to the film's frenzy. His two-day shoot incorporated spontaneous elements, such as filming in a towed cab for realism, to underscore the musician's detached yet magnetic presence. Howard Kaylan, formerly of The Turtles, appeared as Captain Cloud, the leader of the hippie band Rainbow Telegraph, parodying '60s psychedelic excess in a disorganized onstage act reminiscent of the Grateful Dead or Joe Cocker, complete with chaotic elements like onstage dogs and children. His performance integrates into the concert lineup, aiding the film's satirical take on counterculture holdovers and their communal, hallucinogenic contributions to the event's madness. Lee Ving of the punk band played Piggy, an anarchic, Pop-inspired rocker who joins Lori Eastside's band for a high-octane punk set, including a frenzied cover of "Hoochie Koochie Man" that incites slam-dancing and staged antics like a safe balcony jump and improvised head-smashing on a car hood. Ving's intense guitar work and unrestrained energy, directed to amplify punk's disruptive spirit, heighten the concert's escalating chaos. Bill Henderson, as the veteran King Blues—a character modeled after and —opens the show with his own soulful rendition of "Hoochie Koochie Man," grounding the lineup in rock's roots and reacting wryly to the punk acts that follow. The Ramones made a brief but explosive stage appearance as themselves, delivering a punk-infused performance that injects rapid-fire energy into the proceedings, filmed to evoke the raw, high-speed ethos of their live shows and tying into director Allan Arkush's prior work with the band in . Their cameo underscores the film's eclectic mix of genres, amplifying the overall concert's anarchic, revolutionary atmosphere.

Release and distribution

Theatrical release

Get Crazy had its theatrical premiere in the United States on August 5, 1983, distributed by . The film was rated R by the of America for language and suggestive content. Marketing efforts positioned the movie as a zany rock comedy, highlighting its ensemble cast and musical cameos by artists such as and The Trouble Boys. However, the promotional campaign was criticized for failing to convey the film's chaotic energy, contributing to a limited reflective of ' independent status. Internationally, the film saw restricted screenings, primarily in English-speaking markets including a release in Australia on November 24, 1983.

Home media

The film was first released on home video via VHS by Embassy Home Entertainment in 1984, marking one of its earliest post-theatrical formats. In December 2021, Kino Lorber issued the film's first high-definition release on Blu-ray and DVD, sourced from a new 2K master struck from the original camera negative and approved by director Allan Arkush. The transfer features a 1.85:1 aspect ratio with vivid colors and sharp detail, paired with an English 2.0 DTS-HD Master Audio soundtrack and optional English subtitles. Bonus materials include an audio commentary track with Arkush, filmmaker Eli Roth, and author Daniel Kremer; the 75-minute documentary "The After Party"; the short featurette "Fan Fiction with No Dogs in Space"; a "Trailers from Hell" segment hosted by Arkush; music videos for the theme song and "Not Gonna Take It No More"; and the original theatrical trailer. The edition includes a slipcover, appealing to collectors of cult rock comedies. As of 2025, the film remains available for digital rental and purchase on platforms such as , but is not offered on major free streaming services like or subscription ad-free options on . No official 4K UHD release has been produced.

Reception and legacy

Critical response

Upon its release in 1983, Get Crazy received mixed reviews from critics, who praised its high energy and humorous take on rock concert chaos while noting its chaotic structure and broad comedic style. of described the film as "hip" and "good-natured," highlighting its appeal to rock enthusiasts for being "energetic and funny," though she cautioned that it "isn't for everyone." Critics lauded the film's musical cameos and its of rock culture, with performers like and delivering memorable spoofs of industry archetypes, such as Reed's parody of and his own persona. However, negative critiques focused on the film's plot incoherence and excessive , with the relentless pace of backstage antics and sight gags often leaving viewers overwhelmed by the "sustained anarchy." In retrospective assessments around 2021, coinciding with a Blu-ray re-release, the film has been reevaluated as an underrated , with director Allan Arkush's energetic style drawing favorable comparisons to his earlier work on . Peter Sobczynski of called it "weird and wild" and "ripe for rediscovery," emphasizing its joyful celebration of live music and potential to evoke smiles during viewings. Similarly, a review in Under the Radar magazine described it as an "underseen and underrated" ensemble deserving of broader appreciation for its wild spirit.

Box office performance

Get Crazy was released theatrically in the United States on August 5, 1983, by , grossing a total of $1,645,711 domestically. This figure reflected a limited release strategy amid intense competition from major summer blockbusters of 1983, such as and , which dominated the box office and reduced visibility for smaller films like Get Crazy. The film had negligible international earnings, with no significant reported grosses outside the U.S., accounting for 100% of its worldwide total from domestic markets. Produced on a of $5.5 million, Get Crazy underperformed financially, failing to recoup its production costs even before accounting for distribution and marketing expenses.

Cult status and rediscovery

Following its 1983 theatrical release, Get Crazy quickly faded into obscurity due to limited distribution and poor marketing by , which failed to build an initial audience despite positive early reviews. The film remained largely unavailable on legitimate for decades, with fans sustaining a small but dedicated through bootleg copies, late-night cable airings, and VHS trading among enthusiasts. This niche appreciation highlighted its chaotic energy and satirical take on the rock concert scene, though rights issues for its extensive musical performances long prevented wider accessibility. The film's rediscovery gained momentum with Kino Lorber's special edition Blu-ray release on December 7, 2021, featuring a new 2K restoration from the original camera negative, audio commentary by director , and a feature-length on its production. This edition addressed years of neglect and introduced Get Crazy to new viewers via high-quality home media, prompting retrospectives that praised its punk-rock and unapologetic depiction of excess as a cultural . Online film communities and critics noted how the release amplified its cult appeal, emphasizing the film's raw humor and ensemble dynamics as overlooked gems from the era. In terms of legacy, Get Crazy has influenced subsequent concert films through its blend of live performances and backstage , serving as a precursor to works that capture rock's anarchic spirit. Its cameos by artists like and The Trouble Boys now stand as historical snapshots of the and new wave transition in the early 1980s music scene. Arkush has reflected on the film's slow-burning cult revival compared to his earlier , crediting its enduring draw to empowering female characters and zany cameos that resonate with modern audiences. As of 2025, Get Crazy continues to enjoy renewed visibility in the music comedy genre, with features on podcasts like The Cultworthy Cinema Podcast in 2024 and inclusions in cult film challenges at online forums. It has appeared in retrospectives at film festivals celebrating 1980s obscurities, underscoring its lasting appeal without any major remakes or adaptations on the horizon.

Soundtrack

Album release

The official for Get Crazy was released in 1983 on LP by Morocco Records, an imprint of Motown Records, to coincide with the film's theatrical premiere that August. The album's production was coordinated by director and music supervisor of , alongside licensed tracks from prominent rock and punk artists. Commercially, the soundtrack experienced modest sales and failed to enter the top 100 on the chart, partly due to the film's underwhelming performance and competition from higher-profile releases like The Big Chill. Original pressings are now highly sought after by collectors for their rarity, exacerbated by production issues such as pressing errors in certain markets. The album's packaging included depicting a frenzied scene emblematic of the film's chaotic rock venue setting, with inner sleeves providing credits and track details. Reissues have remained sparse, limited to various international vinyl variants from 1983, with no official CD edition produced to date.

Track listing and contributions

The soundtrack album for Get Crazy features a diverse selection of rock, new wave, and punk tracks, blending original compositions created for the film with high-energy covers of classic songs, performed by a roster of notable artists including Sparks, , and the . Released on vinyl, the album captures the film's chaotic atmosphere through studio recordings that include both professional musicians and cast members. Key contributions highlight the era's rock scene, with producers like Ron and overseeing original material to tie into the movie's narrative of a wild show. The track listing includes the following:
TrackArtistTitle
1SparksGet Crazy
2Lori Eastside & NadaYou Can't Make Me
3
4 (aka "But, But")
5
6Lori Eastside & NadaI'm Not Gonna Take It
7Hot Shot
8Bill HendersonThe Blues Had A Baby And They Named It Rock & Roll
9
10Starscape
11 & Cast
"Get Crazy," the album's title track and opener, was an original song written and produced by Sparks' Ron Mael and Russell Mael specifically for the film, embodying the movie's theme of rock excess. Similarly, "You Can't Make Me" and "Chop Suey" represent original contributions from Lori Eastside & Nada and the Ramones, respectively, with the latter's punk energy adapted to fit concert scenes. Marshall Crenshaw's "It's Only A Movie" is another bespoke track, written and performed by the artist to underscore meta-elements of the film's plot. Lou Reed's cover of "" (originally by ) provides a brooding highlight. "I'm Not Gonna Take It" is an original by Lori Eastside & Nada. "Hot Shot" features star . Bill Henderson performs "The Blues Had A Baby And They Named It Rock & Roll," a standard. covers Muddy Waters' "." "Starscape" is an instrumental by . The closes with "" performed by and the cast, tying into the theme. Note that the film includes additional performances, such as covers of "" by the and , and songs by , which are not on the official .

References

  1. https://www.imdb.com/title/tt0085551/
  2. https://www.rottentomatoes.com/m/get_crazy
  3. https://www.nytimes.com/1983/10/14/movies/get-crazy-rock.html
  4. https://www.tcm.com/tcmdb/title/76154/get-crazy
  5. https://pleasekillme.com/lou-reed-allan-arkush/
  6. http://thehollywoodinterview.blogspot.com/2009/04/do-you-wanna-dance-allan-arkush.html
  7. https://wearecult.rocks/malcolm-mcdowell-and-get-crazy
  8. https://www.themoviedb.org/movie/29628-get-crazy/cast?language=en-US
  9. https://bandsaboutmovies.com/2021/12/07/exclusive-interview-with-allan-arkush/
  10. https://moveablefest.com/get-crazy-allan-arkush/
  11. https://brightlightsfilm.com/baby-im-having-fun-allan-arkush-and-kent-beyda-discuss-get-crazy/
  12. https://theatresinmovies.blogspot.com/2021/01/get-crazy.html
  13. https://thedigitalbits.com/item/get-crazy-klsc-2022-brd
  14. https://www.youtube.com/watch?v=zRfk3UIjJTQ
  15. https://www.rogerebert.com/features/just-another-step-on-the-journey-man-1983s-underrated-nye-comedy-get-crazy
  16. https://www.imdb.com/title/tt0085551/plotsummary/
  17. https://scopophiliamovieblog.com/2015/01/01/get-crazy-1983/
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  21. https://www.digitalbits.com/item/get-crazy-klsc-2022-brd
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  25. https://vhs-openings.fandom.com/wiki/Opening_and_Closing_to_Get_Crazy_%281983%29_1984_VHS_%28Australia%29
  26. https://www.imdb.com/list/ls022803463/
  27. https://www.blu-ray.com/movies/Get-Crazy-Blu-ray/241325/
  28. https://www.justwatch.com/us/movie/get-crazy
  29. https://undertheradarmag.com/reviews/get_razy_special_edition
  30. https://www.boxofficemojo.com/release/rl4250240513/
  31. https://www.boxofficemojo.com/year/world/1983/
  32. https://www.thepitchkc.com/director-allan-arkush-on-his-new-years-eve-cult-classic-get-crazy/
  33. http://www.tasteofcinema.com/2015/18-forgotten-american-movies-that-need-to-be-rediscovered/
  34. https://metacast.app/podcast/the-cultworthy-cinema-podcast/umyfBR1J
  35. https://forum.icmforum.com/viewtopic.php?t=6988
  36. https://videolibrarian.com/reviews/classic-film/get-crazy/
  37. https://www.discogs.com/master/331904-Various-Get-Crazy-Original-Motion-Picture-Soundtrack
  38. https://www.bsnpubs.com/motown/tmg.html
  39. https://www.discogs.com/release/14427047-Various-Get-Crazy-Original-Motion-Picture-Soundtrack
  40. https://www.cdsyouwant.com/product-page/get-crazy-1982-cd-special-edition-film-soundtrack-w-9-bonus-tracks
  41. https://www.discogs.com/release/3802362-Various-Get-Crazy-Original-Motion-Picture-Soundtrack
  42. https://genius.com/albums/Various-artists/Get-crazy-original-motion-picture-soundtrack
  43. https://www.imdb.com/title/tt0085551/soundtrack/
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