Imagine a world where teenage girls tore up the musical landscape, their raw energy uncontainable, breaking the mold of girl groups with leather jackets and electric guitars. That's the story behind 'Edgeplay: A Film About the Runaways.' This documentary, directed by former Runaways member Vicki Blue (a.k.a. Victory Tischler-Blue), hit the screens in 2004. It takes viewers back to the mid-1970s in Los Angeles where five fierce young women embarked on a tumultuous, groundbreaking journey to become the first all-girl rock band, ultimately changing the face of rock music.
The Runaways emerged at a time where rock was predominantly a male domain. They were hungry for a place in history, yet their journey wasn't without tribulations. The film's title, 'Edgeplay,' a term referencing a dangerous game of dominance, hints at the often dark undertones of their journey. The documentary seeks to reveal the struggles and triumphs of the band from the perspective of those who lived it.
When you watch 'Edgeplay,' you're getting more than a behind-the-music look at the Runaways. It's a raw exploration of young female artists in a man's world, their battles with exploitation, sexism, and internal conflict. The documentary shuns gloss, opting instead for candid interviews with band members, excluding frontwoman Joan Jett, who famously withheld her music rights from the film. This omission is both a limitation and a point of intrigue.
This absence speaks volumes about the tensions within the band and throws light on Jett's reservations about how the story of the Runaways should be told. Despite Jett's absence, other original band members, including Cherie Currie and Lita Ford, provide personal insights that are both enlightening and heartbreaking. Their stories are tales of youthful rebellion, while also serving as cautionary tales of speed, drugs, and the rabbit hole of fame.
The film’s edgy and unapologetic narrative style reflects the spirit of the band, but it also poses questions about the boys club of rock 'n' roll. The Runaways were thrust into this sphere as teenage girls with limited agency in their own careers. Their manager, Kim Fowley, played by Michael Shannon in the 2010 biopic, is both credited for discovering them and criticized for his exploitative and controlling ways. 'Edgeplay' challenges viewers to reflect on this power dynamic and its impact on women striving to break new ground.
The classic rock narrative often overlooks the stories of women, and 'Edgeplay' aims to correct that. The portrayal of the Runaways is not romanticized, but rather presented with all its imperfections. Viewer responses to this can vary widely. Some may question the film's biased narratives due to the absence of Jett. Others might appreciate the raw honesty that only direct participants can give.
While some critics have argued 'Edgeplay' lacks the musical punch, due mainly to its absence of original Runaways music, the grittiness and authenticity of the film make up for it. The soundtrack, an alternative rock setlist, underscores the rebellious tone and provides a glimpse into the soundscape of the time.
From an oppositional perspective, it could be argued that without Jett's music and input, the documentary doesn't quite capture the full essence of the Runaways. There's merit to this viewpoint. To some, it could feel incomplete. Yet, others might see the value in focusing on the lesser-heard voices of the band.
For Gen Z, 'Edgeplay' provides a raw and seldom-glimpse into the harsh realities and tenacity behind a fight for respect and recognition. Today, where conversations about gender equality and representation are more critical than ever, the Runaways' courage and the reflection of their struggles in 'Edgeplay' remain deeply relevant.
This film is more than a documentary—it's an experience. It's a journey through the highs and lows of youthful ambition, shattering ceilings, and a testament to the gritty resilience of women in an industry that wasn't ready for them. It's a reminder of the space we must continue to create for women's stories in music and beyond.