Leonard Skynard Plane Crash Review – Variety4 min read
For anyone interested in experimenting with “Street Survival: The True Story of the Leonard Schneider Plane Crash” it can be a blessing in disguise that his VOD release is in the midst of an epidemic, when not too many people rush to return. The film delivers its title promise – or threat – in a big, obvious way, once the engines start backfire and start a horrific massacre on the ground enough to give most viewers at least a second idea about flying again soon, with at least one pro-engine aircraft and especially one Going with the musicians. Perhaps despite a modest budget, “Street Survival” is actually a first-class aeronautical disaster movie, if you follow Peter Weir’s 1993 “Fearless” way of life.
Whether this is the best example of a rock biopic is another matter, as fans of the Southern Rock Band are forced to be sharply divided over how they portrayed the group in the days leading up to the tragedy of the 1977 tragedy. Or how it doesn’t portray them: with the exception of drummer Artemis Pike, some of the band’s members, who are now 711 years old, have shown (and sometimes return to narration) the actor who is one of his many young self-portraits. Ian Schultz has been mentioned before.
Pyle apparently is legally barred from appearing in a movie that tells the whole story of Leonard Skynard, and members of other bands who survived or obtained their assets have filed a lawsuit trying to stop it, although an appeals court eventually allowed him and the production company to proceed. Suffice it to say that it was probably not a strict artistic choice for writer-director Jared Cohen to keep some members of the band unrefined, although dumb singer Ronnie Van Jant (Taylor Clift) is a supporter of Pyle’s story, according to legend.
Once the real pile comes out of his on-screen presentation, the movie throws the kit in his garage from time to time with Schultz’s pile for ages, when he gets the call that Van Jant is interested in meeting him is already an unintentional um with the famous band. Within minutes the film was already moving towards October of ‘77, just days before the unfortunate disaster. To its credit, though, the movie does not attempt to portray the group as a star-crossing saint. There is a casual truth that makes this part of the movie feel like it was probably shot in the ‘seventies, not just because of the fierce, time-appropriate hairstyles that sometimes make it hard to tell all the stingy faces apart, but the topless romantic interests of the night come out of the frame. And even, the rowdy banners that are exchanged backstage.
All the good “almost famous” -style idols must have ended, and the film begins with its anxious mid-division with a collection of prop aircraft that Aerosmith wisely refuses. (Members of this band are also portrayed for about half a minute enjoying their own sex-drug trends)) The first flight of this new acquisition has some literally shaking moments, as there is a loud backfire and shot flames between the engines. There’s a lot of discussion about the wisdom of being a pioneer in this kind of jellopee, with pilots whose star-hitting doesn’t inspire professional confidence. But soon they climbed the stairs slowly – for the final time, in the case of six of the 2 of the people on board – and eventually the plane ran out of fuel and headed for a terrible landing in the Mississippi forest. .
It has been horribly staged, especially considering that Cohan, Visual Effects Supervisor Joseph J. Lawson and Eric Yalkut Chase, production designer Eve Yes McCarni and DP Pascal Combs-Nokui are probably not working on studio-level resources. The immediate consequence is tied to the tug-of-war, the pile in the garbage shot that surveys the risks to the survivor as well as the wreckage. Once he escapes in search of help, we begin to realize that we will spend the rest of the third act heroically with the wounded pile and none of the people behind the rubble.
Legally the story may be all his, but in practicality it makes it feel like the filmmakers didn’t care much about anyone else – for the now-destroyed Van Giant, who doesn’t know the script enough to consider a TV thrower jerk, a rock god or both. In fact, Pyle doesn’t come into any character beyond even his ultimate physical adventure. The last time we spent with Fictional Pile, he was slammed by Skynard’s director over a contract and a medical bill, which is a somewhat strange way to end the movie.
The film still presents an image with the real man playing the gig drum solo of his active Artemis pile band. There, like the rest of the movie, no true Skynard composition was used, thanks to the controversy that has escalated since he left the group’s reunion version in the early 1990s. (The band’s latest version, whose farewell tour was interrupted by the epidemic, features only one key member, Gary Rossington.) The soundtrack features a ringer song co-composed mostly by Pyle and his children, including a cover of the Skynard song by JJ. Tomorrow’s “Tell me the wind.” Needless to say, no one will come out of “Surviving the Street” by humming the missing “Free Bird”, but if it is possible to hug the plane crash, the movie will leave you.