Nostalgia towards 1960s was quite popular in Hollywood, but it usually reflected in music, fashion and period settings. There was little attempt to recreate or resurrect style and genres of films characteristic for decade. An interesting exception were so called Beach Party films, exploitation genre from mid 1960s, which had catered to young audience by featuring popular music, comedy and beach setting allowing protagonists always in bathing suits. The biggest stars of that film were Frankie Avalon and Annette Funicello, who often appeared playing the couple. Two decades after reaching the peak of popularity, the two reappeared in Back to the Beach, 1987 comedy directed by Lyndall Hobbs, a work that could be interpreted as homage, parody and spiritual sequel of those films.
Avalon, who is also one of the executive producers, appears in the role of unnamed protagonist (named “Annette’s husband” instead of Frankie because of legal reasons), a former California surfer who, due to his skill, earned nickname “Big Kahuna”. Funicello plays Anette, who is now his wife and lives far from beach in Ohio, where her husband works as a car salesman. Their domesticated way of life is despised by their rebellious teenage son Bobby (played by Demian Slade) who also works as film’s narrator. The pair decides to take vacation to Hawaii, with short stop in Los Angeles where they are about to visit older daughter Sandi (played by Lori Laughlin). She, much to their horror, lives with young surfer Michael (played by Tommy Hinkley). The family nevertheless decide to stay on the beach, visit old friends and see how things changed, while the relationship between “The Big Kahuna” and Annette seems to fall apart, with both spouses deciding to make each other jealous. In the end, “The Big Kahuna” is forced to take surfboard again and battle with rival Zed (played by Joe Holland), leader of punk surfers.
Original Beach Party films, with their simple but shallow formula, were popular but they are generally considered to be among the less intelligent products of 1960s American cinema, a view often admitted even by those who liked them. Avalon and Funicello nevertheless put a great effort in order to resurrect former glory, toying with their real life personalities (Avalon’s character is introduced as early 1960s teen idol, while Funicello as Mouseketeer). The script, allegedly written by six-person screenwriting committee, quickly abandons any attempt to comment on generational differences and opts for old films’ cliches, sometimes polishing it with 1980s music and fashion. Although a lot of humour doesn’t work, some jokes are entertaining and there are couple of likeable music numbers, like Funicello making entire beach dance to the tune of “Jamaican Ska” or P.W. Hermann making cameo performance in surreal rendition of “Surfin’ Bird”. Australian director Lyndall Hobbs (known as long time girlfriend of Al Pacino) does acceptable job as director, making film short enough for audience not to notice serious shortcomings or plot holes. Back to the Beach in the end didn’t have much impact on box office, showing the limitations of nostalgia approach. The Boomers had loved to watch Beach Party films in drive in theatres, which were in 1980s thing of the past; as middle-aged people they preferred their nostalgic entertainment on small screen. This was the last film for Funicello, who was diagnosed with multiple sclerosis during the production and subsequently ended her career.
RATING: 5/10 (++)
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