I like the storyline of this show,it attract me so much

hyped garbage

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

When I was on one of my 'spring' breaks from school, I ventured out to California. I was in Hollywood in 1980 and on the telephone poles and on construction sites I saw this black and white poster of this guy - he looked like he was right out of the 50's and it asked the question: "Who is Caesare?" Well I've gotta tell ya, Hollywood in 1980 was very interesting. There were a lot of signs, posters and billboards of folks you never heard of such as "The Untouchables", "The Specials", "The Go-Go's", "Motley Crue"... and this was right along with them. So I thought - it's a retro-50's punk-new wave thing. The guy is kinda cute, though. And went back to school on the east coast.When I finally came back to Los Angeles later in the 80's , I was watching "Z" Channel and ran into this film called "The Idolmaker" starring Ray Sharkey. I loved Ray Sharkey's work in "Crime Story" and "Wiseguy" and thought this would be a good film. Lo and behold, I finally got to connect the posters I saw in Hollywood. It was "The Idolmaker".This film isn't getting the recognition it deserves - it is quite wonderful. It is quite near the full telling of artist vs. manager, how to be a pop star and how artist dumps manager once they become a star. While this is a parallel of a tale of Frankie Avalon and Fabian, it could be just about anyone in the popular music field and the late Ray Sharkey gives the bravo performance of his life here.The one thing to note now about this film is the array of folks in it: Peter Gallegher was toted as "too pretty to be a serious actor" from this film and that has haunted him ever since. But guess what? He was an actor here, and the next film "Summer Lovers" and more TV work and movies after that to his fun performance as "The King of Real Estate" in American Beauty and on the teen drama The O.C. He has held his own despite what the critics had said. Post 'Brady Bunch' Maureen McCormack for example - and faces you know (if not the names) that go on to star or be associated with every excellent mob or crime film or series in the 80's, 90's and today. This film was a first in many things - and a peek into the work of it's director, Taylor Hackford who is very good at telling the "devil in the details" films.If you're interested in how managers/agents/etc. fit in the pop industry, here's a look at how it started -- and how they are treated once their piece of coal becomes a diamond. And too sometimes how making an 'American Idol' goes to their head as well as they forget about the talent. Great film.

Keepin' it brief I fully agree with other comments found in these reviews.A VERY good movie, and fun place to see 2 of todays stars in their FIRST movie appearances.There is an almost haunting quality to Sharkeys character. Driven to a fault to live vicariously through more handsome men that he could control just long enough to see them reach his own goal.Good supporting cast, and well filmed, with a few sound problems and mediocre, lighting. Being Far Too critical.Watch for Joe Pantoliano and Peter Gallagher, And consider how Sharkey could have given Kevin Spacey a run for his money in "Beyond the Sea"Nows there's food for an argument.On my top 10 Music related pix.

A lot of postings indicate that this movie could do well in even today's competitive film market. And it could indeed. The late Ray Sharkey gives a very strong award-calbre performance as a repressed performer in the guise of a songwriter/manager for a couple of 1950s style teen idols. A very young Peter Gallagher showed signs that he might have a bigger career than he has apparently had. It's funny how an actor can look so "exotic" and really not actually BE exotic. It's this kind of irony that carries IDOLMAKER to the heights of classic filmaking.

On the heels of "Grease" (which created a brief wave of '50's nostalgia), but at the same basic time as "Can't Stop the Music" (which was a glitzy, ridiculous bust) this unusual semi-musical film made it's debut and sort of drifted into obscurity afterwards. The story showcases the exploits of Sharkey, a songwriter with drive and creativity to spare, who desperately wants success in the music business, but realizes that he doesn't have what it takes physically to make it. He plucks a slightly more attractive kid (Land) out of a local band and forges him into a singing sensation, planning each detail and exacting control over him. Once Land is solidly in place, Sharkey starts in with young Gallagher to repeat his success (partially to prove himself to his own father.) Feldshuh is a teen magazine editor who finds herself caught up in the hoopla of these prefab idols and in Sharkey's enthusiasm. The film has several things going for it, not the least of which is Sharkey's terrific performance. He is completely believable and compelling in the role, his charisma taking the story a long way. The always reliable Feldshuh (who recently made a minor splash in "Kissing Jessica Stein") is saddled with a pretty demeaning role, yet manages to get in a few decent moments. There are several moderately recognizable faces in the cast who do nice jobs (including a nearly unrecognizable Pantoliano.) Land, who showed promise in this film, somehow completely petered out shortly after, as did Pec, who makes an impression as Sharkey's mobster-like father. Gallagher (playing a 16-year-old at 25!) is also showcased to good effect, despite the occasional silliness of the material and a lot of make-up. What keeps the film from becoming fully satisfying is the limited period detail (mostly just some cars, a few poodle skirts and some fun knit tops and peg legged pants), the predictability of the story (a manager who creates stars and then loses them to their own ego is hardly a fresh concept!) and the sometimes disjointed flow of the script (ironically, this is due mostly to the decision to present the numbers intact....many viewers will appreciate this, but it leaves little room for characterization and connecting plot points.) Characters appear and disappear and have sudden changes of attitude. However, the film is not really deep enough to have allowed for a longer running time. Also, the numbers are more along the lines of the '80's than the early '60's. This doesn't mean they aren't entertaining....just not accurate. They are sort of early '60's song run through an early '80's filter. Adding to the camp factor are McCormick (trying to escape her "Brady" stigma as a tarty journalist) and Merv Griffin's favorite dancer Terrio as the choreographer of the decidedly un-'60's numbers. Despite Sharkey's romance with Feldshuh, there is a somewhat homoerotic feel to his obsession with the boys. Sadly, in real life, Sharkey died of AIDS in 1993. Director Hackford would later direct the blockbuster "An Officer and a Gentleman" which also dealt with life makeovers.