The Idolmaker (1980)

86% of critics liked it
(7 reviews)
74% of users liked it
(933 ratings)

The story of Philadelphia-based rock 'n' roll starmaker Bob Marcucci is given a pointed a clef treatment in The Idolmaker. Ray Sharkey plays Vincent Vacarri, who takes a couple of raw young kids (Peter Gallagher and Paul Land) and molds them into teen idols. If Gallagher and Land seem at times to be… More The story of Philadelphia-based rock 'n' roll starmaker Bob Marcucci is given a pointed a clef treatment in The Idolmaker. Ray Sharkey plays Vincent Vacarri, who takes a couple of raw young kids (Peter Gallagher and Paul Land) and molds them into teen idols. If Gallagher and Land seem at times to be clones of Fabian and Frankie Avalon, then you've gotten the point. As played by Sharkey, Vacarri comes off as both maven and monster: he gives his boys everything they need professionally and everything they want personally, but it's subliminally clear that his interest is purely mercenary (incredibly, Bob Marcucci is the film's technical advisor). An excellent, clear-eyed view of show biz mechanics, The Idolmaker falters only in its anachronisms, notably the style of music performed by Vacarri's proteges. ~ Hal Erickson, Rovi

Rating, Runtime: PG, 1 hr. 59 min.
Directed By: Taylor Hackford
Genres: Drama, Romance, Musical & Performing Arts

In Theaters: Nov 14, 1980 Wide
On DVD: Aug 15, 2001

Critic Reviews

Emanuel Levy, EmanuelLevy.Com
Taylor Hackford showed his skills as a commercial director with his very first picture.

Critic ratings and reviews powered by RottenTomatoes.com

Fresh (60% or more critics rated the movie positively)

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Featured Audience Ratings

Adam M

set in '61 but makes fun of 70s AM pop idols; Ray Sharkey, with his doughy mouth, plays it half cold Svengali, half sensitive child; ending number is such terrible shmaltz, it plants reservations about the whole movie, which has only escaped shmaltz by its brisk editing; the… More
set in '61 but makes fun of 70s AM pop idols; Ray Sharkey, with his doughy mouth, plays it half cold Svengali, half sensitive child; ending number is such terrible shmaltz, it plants reservations about the whole movie, which has only escaped shmaltz by its brisk editing; the interesting song is a funkified one, "Boys & Girls," that's hilariously direct--exposing the love-swooning pop as empty, a release valve for sex--and happily anachronistic, so happily it's sung by 3 black ladies in LaBelle-like outfits and 3 guys that look like the Temptations on PCP
Marion R

I thought it was pretty cool. The songs were decent and I enjoyied watching such a driven character. My only gripe is that it ends in the "Hollywood" way.
Anthony V

Interesting look at early rock.