For a successful pop star, the world of film is quite an alluring prospect. Acting and singing had been joined together in the theater for quite some time, but the rise of motion pictures, television and recorded music caused attendances to wane.
When pop music gained popularity in the 1950s, many decided it was time to merge acting and singing on the screen. Pop stars sought to create a new type of musical, one that was more geared to teenagers. Though a good amount of singers found commercial success in acting, many of the efforts seem dated and gimmick-ridden as the years go by. Just look at the film career of Elvis Presley, who made dozens of films that are almost unbearable.
One of the most popular film genres for musicians trying to act is that of the biopic, although the biography might not necessarily be their own. This genre allows singers to integrate their already-established talent so that even if their acting stinks people can still find something positive to say about the film. At least that's what producers hope for.
Bette Midler's singing career was already launched, and she had a few acting jobs under her belt, but it was 1979's \The Rose,"" a film based on the life of Janis Joplin, which made people actually consider her an actress. Neil Diamond did not have the same good fortune with his remake of ""The Jazz Singer,"" which earned him a Razzie award for worst actor the year it was released.
The 1980s saw Prince try his hand at acting in ""Purple Rain."" However, this proved uninspired and dull as ""Purple Rain"" itself. Fortunately for Prince, ""Purple Rain"" had one of the most fantastic soundtracks of the '80s. The music often clouds people's memories of how bad the film is whenever concert footage is not used. Ironically, Eminem of all people, improved on the basic premise of ""Purple Rain"" to make ""8 Mile,"" which incorporated quality music and decent acting.
As was the case with other such biopics, the soundtrack to ""8 Mile"" became the real star, though the film did enjoy healthy box office revenues.
Then there are those musicians who want to dabble in acting but don't feel up to playing the lead role or having the pressure of carrying a soundtrack. Jack White was a pleasant addition to the labored ""Cold Mountain,"" in which he played a member of a Civil War-era traveling band. His presence was not as welcome in Jim Jarmusch's ""Coffee and Cigarettes,"" in which he and bandmate Meg White teamed up for a brief segment that was awkward and flat. Gwen Stefani had what may have been the shortest acting stint ever for a pop star when she uttered just one line in Martin Scorsese's ""The Aviator.""
In what promises to be another role based more upon looks than actual dialogue, Jessica Simpson will try her hand at acting this summer when she plays Daisy Duke in ""The Dukes of Hazzard"" movie. Fortunately for Simpson, her acting and the film in general are fairly critic-proof, as the length of her shorts will be dissected more than her acting attempts.
The crossover from pop music to film stardom is easier than the reverse in terms of success, but it's a venture that doesn't usually lead to much artistic credit or acclaim. Very few pop stars make good movie stars, or good movies for that matter. Only a handful are able to find critical and commercial success at both. Frank Sinatra may be the best example of a successful crossover in terms of artistic merit, as ""From Here to Eternity"" and ""The Manchurian Candidate"" are vastly better than most movies singers commit themselves to. Sorry, Elvis.
Dan Marfield's column returns to its regular day next Monday. He can be reached at ddmarfield@wisc.edu.
