The Film (4/5)

    Smithereens is the debut film from director Susan Seidelman (Desperately Seeking Susan, Sex and the City). It stars Susan Berman as Wren a young woman who is in the middle of the New York City punk rock scene of the late 70's. She aspires to fame through what she assumes are her talents. However, there is not much in the way of talent on display, other than dressing uniquely, and posting flyers of her face around Manhattan.

      Wren finds herself between 2 men Paul (Brad Rijn) and rock star Eric (Richard Hell). Paul though living in a van seems to offer a sense of stability and the offer to follow him into a future in New Hampshire, while Eric seemingly offers to take her to the rock star life she desires in L.A. Paul is obsessed with Wren from the moment he sees her, while Eric could take her or leave her, and thus she becomes obsessed with him. Smithereens follow Wren as she lives her life amongst friends, family, trying to find fame, and choosing between these 2 men. The ultimate decision of which will affect the outcome of her existence.

    Smithereens feels like it would fit as the last commercial evolution of the no-wave cinema movement coming out of New York in the late 70's with filmmakers like Amos Poe (The Foreigner, Unmade Beds), Jim Jarmusch (Permanent Vacation, Stranger Than Paradise), that is not to say the film feels commercial in tone, it is just a lot more easier to connect with then say the Foreigner or Permanent Vacation, but is maybe on the same level as Stranger than Paradise.

     Smithereens is not a narrative focused film, and is rather a character piece focusing on the lives of Wren and to an extent Paul (And to a much lesser extent Richard). We watch as the various interactions these 3 characters have with one another affect each other more on an emotional and individual level than part of as a cohesive whole.   It is also in a way a deconstruction of Wren as he watch her begin the film as a confident, but delusion self-centered punk rocker who slowly has her ambition and entitlement stripped away.  

    The film has a soundtrack made up of punk and indie artists of the time like the Feelies, Nitecaps, Richard Hell (of course), and more. These certainly fit the tone of the film, and help to set the period quite well.

Audio/Video (4/5)

    Criterion presents The Smithereens in a gorgeously filmlike 1:66:1 1080p AVC encoded transfer preserving the OAR of the film. Everything here looks quite natural as the film was originally a 16mm production. The Blu-ray has some light specking, but overall blacks are deep, detail is solid, and color (what there is) is solidly reproduced.

   Audio is handled with an LPCM 2.0 track in English that sounds clear and without issue.

Extras (4/5)

   Criterion includes an extensive interview with Susan's Seidelman and Berman that goes in depth into their careers and the production of the film. We also get both of Susan Seidelan's early short films, with optional introductions and a booklet of liner notes.

Overall

   The Smithereens is an excellent character driven indie film, and a document of a punk era New York. The Blu-ray looks and sounds excellent and comes with some fantastic extras. HIGHLY RECOMMENDED.