This is a really, really good movie and I don't understand why no one ever mentions it or why it is never on cable.

It has everything that I love in a movie: good story, great characters well acted, fine comedy and powerful touching drama. Ralph Macchio is a brilliant young guitar student, Eugene Martone, at Julliard (or some other equally good music school) who does not want to play Mozart. He wants to play guitar like his idol, a long dead blues guitar legend. In search of his dreams, he breaks an elderly black blues player out of a prison nursing home.

The two of them go on an odyssey to the Mississippi Delta in quest of memories and dreams. As in any odyssey, they meet a variety of fascinating and/or dangerous characters along the way. Eugene must also overcome the obstacles and tests that all those who quest must face - until it is time to face the ultimate test against the greatest blues guitarist in the Delta.

I enjoy music, but my knowledge is superficial. I probably wouldn't know a good guitar riff from a raft, but even I could recognize awesome guitar work in the final sequence of Crossroads.

So, if you like good movies and good acting and great guitar music, please check out Crossroads. If enough of us spread the word, it may no longer be a forgotten classic.

Other than "The Blues Brothers," I can't think of another modern film about the Blues as good as Walter Hill's "Crossroads." In the film, Ralph Macchio plays Eugene, an aspiring classical guitar prodigy at Julliard who is fascinated with the blues. He tracks down Willie Brown, one of the last living blues legends from the 40's, played by Joe Seneca. Eugene thinks Willie has the last song written by (real life) legendary Bluesman Robert Johnson, that was never recorded (the story is loosely tied to the life of Johnson). Eugene believes he can assist Willie is resurrecting the song and giving it to the world. However, Willie has other plans including teaching Eugene the true meaning of Blues music that requires a trip back to Willie's stomping ground on the Delta.

This is Hill's best film. Like "Crossroads", many of his films have interracial lead characters and Hill always gives a unique, honest slant on racism and social differences among these types of relationships (or if its an amicable relationship - the lack thereof). The script may be a little thin for some (Jami Gertz's character is a little weak, and she resorts to overacting too often), but Joe Seneca carries the movie with weathered grace as Eugene's fatigued hero who hopes of correcting his shady past in order to save his future. Ralph Macchio expertly plays a naive, impressionable teenager whose skill and love as a musician ultimately generates his confidence and even bull-headedness: he's a blues guitarist who knows what to play but not how to play it. And who can forget the "cutting heads" showdown at the end of the film? Eugene fights tool-and-nail against master guitarist Steve Vai as Jack Butler. The duel is ABSOLUTELY incredible, and no matter how many times I've seen it, I never get bored.

The tone and pacing of this film is tempered, quiet and casual, with none of its plot twists dipped in melodrama for maximum effect. Willie Brown's description of the South is never fully realized on screen, even it's bleakness is absent of any vivid cinematography, but this is overall a great film. As Willie tells Eugene late in the film, "Blues ain't nothin' but a good man feelin' bad." I love this movie!

This movie starts slow and begins moving quickly as we see an outstanding modern version of faust (more like the Devil went down to Georgia). The end is a spectacular show down between Ralph Machio on a classic guitar vs. A rock & roll demon.

Okay, we have all seen the final scene in the movie, and it is a tremendous scene that would be cool in just about any decade. Who would have guessed the rest of the movie was pretty decent.

So the story plays on the old "deal with the devil" trope that we have seen since Faust. The interesting detail is how they incorporated a new wrinkle to the story. While some might say there are too many holes in the story, I don't think it detracts too much from the overall story (like what is the deal with Eugene's parents).

All I can say is stay for the music, enjoy the fun and drink some whiskey.

I've seen CROSSROADS so many times I've lost count. And, it won't be the last time I'll watch it. The music alone would be reason enough. But, this film is far deeper. And no amount of exposition about it could ever *SPOIL* it for the virgin-viewer who has never seen it.

Eugene Martone, considered a prodigy on the classical guitar, is a young Long Island man attending the prestigious Julliard Music School. Problem? He prefers the blues over classical. And he's on a quest. He uncovers evidence that blues guitar legend, Robert Johnson, composed 30 songs. Since only 29 were ever recorded, he becomes obsessed at finding the 'lost' song number 30 (and being the first person to record it). And, after some sleuthing, he finds an old photograph and a news clipping -- pointing him toward the only living person who would know that song and who, fortunately, lives nearby. His name is Willie Brown (aka Blind Dog Fulton, aka Smokehouse Brown), a friend of Robert Johnson who traveled and performed with him (harmonica/vocals). Brown lives in a penal facility for old people (a criminal's nursing home). At first, Brown denies his true identity. But confronted with a photo of himself next to Robert Johnson, Brown finally admits the truth. And, he agrees to teach Martone the lost song -- but ONLY if Martone breaks him out of the facility and takes him back to Mississippi.

The catch? Martone knows that lore surrounding Robert Johnson says he sold his soul to the Devil. What he doesn't know is that it's fact, not lore ... and that Willie Brown did the same thing. And Martone doesn't know that Brown's reason for going back to Mississippi is to return to the 'crossroads' where he and Johnson sold their souls in hopes of getting the Devil to release him from his contract. This culminates in an eerie finale where Martone gambles his soul in a blues duel with the Devil's own guitarist, Jack Butler ... to save Brown from eternal damnation.

Director Walter Hill is masterful, combining music, drama, alternate history, fantasy, and horror into a single plot. Kudos must also be given to screenwriter John Fusco for giving Hill a masterful script to work from. But contrary to most people, my favorite scene isn't the blues duel. It's the scene where Martone wakes up to find out a girl he met in his travels with Brown (and had a romantic interest in) has unexpectedly left them to go her own way. And immediately after that, Brown admits he lied... that there never was a song number 30. At that moment, Martone, who'd been merely a good blues 'player' up to that point picks up his guitar and begins to play a sad blues song ... one certainly coming from his soul, not from his memory of what others have played. It is that momentary 'graduation' scene (the transition between blues 'player' and blues 'man') that sets the stage for the duel ... with film watchers knowing Martone is as ready for it as he can be.

As a cinematic work, Crossroads is nothing special. Except for Joe Seneca who was great as the aging blues-legend on the run from the devil, the acting is awful. Ralph Macchio is decent, except that he's doing the EXACT same character he did in Karate Kid. The love interest between Eugene and Frances is silly, shallow and simply doesn't work. The screenplay, above all, is terrible. The directing and photography are good, which makes the film at least bearable.

But the film is just an excuse for one of the most amazing soundtracks I've ever heard. Classical guitar, Robert Johnson classic blues, Muddy Waters electric blues and hard blues rock run throughout this film wonderfully; for bluesmen and guitar lovers, Crossroads is a must. The ending with Steve Vai, above all, is one of the greatest scenes I've seen and makes the whole movie worthwhile - and both Vai and 'Eugene' play a KILLER guitar (I think Stevie Ray Vaughan plays Eugene's part). Overall, a very mediocre movie and for many probably boring, but a cult classic and a musical masterpiece.

* Minor Spoilers *

Eugene Martone, the 'Lightening Boy' (Ralph Macchio, an actor who presently 'disappeared' from the big screen) is a lover of blues. He studies guitar in Julliard, but he indeed is looking for the thirtieth unknown song of Roberto Johnson. One day, he meets Willie Brown, the 'Blind Dog Fulton' (Joe Seneca) in an old folk's home and is convinced that he possess the lost song. Eugene helps Willie to escape the asylum and goes with him to Mississippi. They can just afford a bus ticket from New York to half way to Mississippi, so the rest of their journey is hitchhiking. In the way, they meet Frances (Jami Gertz, also vanished from the screen), a girl who left home and wishes to be a dancer in Los Angeles. They three together will pass through many strange adventures and situations. The climax of the movie is the guitar duel between Eugene and Jack Butler (Steve Vai).

This movie is the most wonderful tribute to blues ever made. The cast, direction and soundtrack are perfect. Thank you Walter Hill and John Fusco for such a delightful film. The astonishing music of Ry Cooder is spectacular. If the viewer loves blues like me, will certainly not get tired of watching this movie and listen to the CD with the marvelous soundtrack. In Brazil, this movie has not been released on DVD (only in VHS and the soundtrack on CD). This movie is completely underrated in IMDb. I do not agree with the 6.1 user rating in IMDb. My vote is ten.

Title (Brazil): "Encruzilhada" ("Crossroads")

Note: On 08 January 2012, I saw this wonderful film again on an imported DVD.

Eugene Martone (Ralph Macchio) is a classically trained guitar student in The Juilliard School. He's in search of the legend of Robert Johnson. He finds Willie Brown (Joe Seneca) locked away in an old age home. Willie claims to have recorded with Robert Johnson back in the day. Eugene agrees to break him out, and back to Mississippi. In return Willie agrees to help record Robert Johnson's long lost 30th song. On the road, they encounter 17 year old runaway Frances (Jami Gertz).

I love the music but the drama is paper thin. It's a road trip adventure. It's not particularly fun or funny or dramatic. All three people start off as disgruntled malcontents. Ralph Macchio comes off as a clueless brat. Jami Gertz isn't as clueless. And Joe Seneca is just a grumpy old man.

There is a distinct lack of drive. There's got to have some kind of time constraint or a bad guy chasing. The whole thing is a series of meandering incidences. I think Willie probably should have told the whole story to start, and put some time constraint on it. Then they could have the excitement of the quest. Or else make it a horror as Willie is chased by the Devil. There are many ways to add drama to this story and they used none of them.

While I love the music, I can't help but notice that it's Ralph Macchio on the screen. It's my one complaint about the guitar battle. I just can't believe that Macchio could play. But I would barely recommend this for the music.

Here in Australia at the moment we have a series on the Blues and last week they were talking about going down to the Crossroads and making a pact with the devil. All of a sudden I needed to find my old video tape of the movie 'Crossroads', taped from television when I first saw it in 1986. The movie is one of my all time favourites and I can watch it time and time again.

Ralph Macchio plays the role of a young teenager, finding the blues and wanting to be a blues player instead of classical guitarist that he is training for. Joe Seneca plays the role of Willie Brown and he lives that role as though he really is Willie Brown. The music played in the scene at the end where Eugene gets Scratch to tear up the contract for Willie's soul is magic and brings tears to my eyes every time I see it. Maybe there is a place for both blues and classical.

Crossroad is unfortunately for Ralph Machio another karate kid but instead of doing the swan kick he does kick his guitar. The movie is based on a myth around the late Robert Johnson who was a pioneer guitar hero. He sold his soul to the devil to play guitar like hell. Eric Clapton covered the song crossroad and anybody who has listen to it don't need to see the movie to know the story. But they'll miss the great playing of Steve Vai (who is surprising in the role of the Satan protégé) and Ry Cooder (Ralph Machio guitar stunt) who in the final battle burn all hell loose and give the greatest guitar playing ever put in a movie cause this is what this movie his all about. Special mention to the mentor and the devil who are brilliantly played.

I feel something for Ralph Macchio, and it is not love. The first time I ever saw his face, I can swear it inspired greatness. Then he talked, he act, he spread his talents all around, and no person can deny he was a natural. The character he created and developed in the first three "Karate Kids" (the first one is one of my favorite films) was sing of commitment and skill.

I was experiencing the hilarious "My cousin Vinny" the other day and he played another original character, being that one of his last important roles. Maybe what I feel is compassion because he couldn't make it as an elder man, and I really wanted to watch him grow. Maybe I miss his first and few big breaks, where he literally knocked me down; one of those being "Crossroads".

He was 25 at that time, but still had that 17-year old look, where you would have said: "Wow, he's 17 and in main role"…Well, I'd have said that. "Crossroads" is an inspiring tale about life and music; blues. It was not the first time that a filmmaker tried to relate music with life. I have personally never had doubts about it, because music is life for me; but in this film, for writer John Fusco it was about growing up, understanding the gift and use it for good.

Macchio portrayed Eugene Martone, a naive guy, gifted guitar player, crazy driven by the magic of blues. The love for music makes our mind think unconsciously about getting far, being big; and Eugene wants to go to Mississippi to get his chance, but needs someone who knows Robert Johnson's lost melody, knows the way, and has even lived it, if you know what I mean. In this story, that character is blues master Willie Brown (a tremendous Joe Seneca), now forgotten in an asylum, probably crazy (although he says he isn't but some brilliant sequences show him out of place) and without his car. But Eugene will get him out of there and they'll both start that journey together.

What happens next, including the various stops, problems, Ralph Macchio's wonderful guitar playing abilities and encounter with beautiful girl Frances (radiant and talented Jami Gertz) is for the viewer to discover. Now, how the title relates it's touching and interesting, but where director Walter Hill triumphs (and this is something that should never be forgotten for music movies nowadays) is in knowing that the story is there. The heart of his film lies in the development of the kid's and the old man's relationship.

When we now see movies about music that sometimes don't even have a clue "musically" and most of the times there is music to promote an artist in the film, because he/she sings; in Hill's "Crossroads" and in the relationship I was talking about, the discussions, conversations, walks and even music playing, hide some of life's deepest interrogations. And I regret saying blues is always the same, because even when it is, it is one of those musical styles, like jazz, that not many listen but when they do discover their power. It's in the eyes of the musicians when they play where you can see it; they love being in that scenario, and that's just magical.

At the crossroads Robert Johnson, the greatest blues guitarist of all time, sold his soul to the devil for talent and fame, so the legend goes. "Crossroads" is a bow to the great blues musicians and the myths surrounding them. The movie was made in the middle of the 80's but thankfully director Walter Hill avoided including too much of what was hip at the time and concentrated on the classy, timeless coolness of the blues. Even the devil, who plays a certain part in the story, isn't portrayed as some kind of cheesy monster, but appears as a regular guy with a sinsiter smile. On the other hand, this movie could only have been made in the 80's. It's the classic story of a young rookie meeting an old, grumpy legend and learning how to become a giant himself with a lacing of fantasy thrown into the mix. Ralph Macchio who had incidentally already been the "Karate Kid", a movie with a different subject but a similar setup, does a great job at mimicking to play the guitar. He has to act as if he was playing some really tricky stuff and he pulls it off quite well. In reality, Ry Cooder was responsible for all the amazing guitar work. If you're a guitar buff and own a Telecaster yourself (like I do), you'll find it delightful to see that guitar in action so much. What I like the most about "Crossroads" is that it takes all the clichés and myths of blues and handles them with a lot of dignity while never forgetting to move on with the story. The movie's heart is of course the guitar duel at the end, where Steve Vai makes a prominent appearance. It's the one scene that people will watch repeatedly, although it's also the scene, in which "Crossroads" reveals when it has been made. Such a finale just wouldn't be possible nowadays as shredding guitar heroes aren't popular anymore. I love the scene for what it is, but it's not set up well and the movie ends a bit too quickly afterwards.

All in all "Crossroads" is no masterpiece, but it's certainly one of a kind. The most likable thing about it is that it doesn't seem like it was made for a huge commercial success, but for the love for its subject. This one's not just for blues geeks, but also recommendable to "normal" people.

Not much to say about this movie. It's not great. But the MUSIC IS!!! Joe Seneca is good as the aging bluesman. Macchio does OK, but nothing very special. I agree with the previous reviewer when it comes to the silly and unbelievable love interest between the characters "Eugene" and "Frances". Jami Gretz's part should have been left on the cutting room floor for all of its need in a mediocre, at best, screenplay that really was dull.

But the MUSIC!!! Great Robert Johnson. Awesome Muddy Waters. The final showdown with Steve Vai as "Jack Butler" and Macchio's "Eugene" (Eugene's guitar work is done by Ry Cooder, a living legend of the blues) is fantastic guitar!!!

Walter Hill is the director of some of my all time favorite movies. His films tend to be more action oriented, rather than character-driven, which is surprising since I normally don't like action films. He tends to establish the characters just enough for you to care about them before throwing them headfirst into the fireworks. Movies like "The Warriors", "48 Hours", "Southern Comfort", and "The Long Riders" all left their mark and set standards for their genre. It's a little strange that he would sign on to do a movie like this, but he somehow pulls it off.

This kid Eugene (Ralph Macchio) is a classical guitar student with an obsession with the blues. Despite the disapproval of his teacher, he longs to be a bluesman just like his heros of the 30s and 40s. When he gets word of a lost song by the late, great Robert Johnson, he hunts down Johnson's still-living harp player, Willie Brown (Joe Seneca). Willie is a cantankerous old man who spends his days rotting away down at the nursing home. It doesn't take the kid long to track down the old man and make a little deal: If he helps the geezer bust out of the old-folks home, then the geezer will in turn, teach the kid the long lost song. You see, they're in New York and the old man has to get home to the delta to settle an old score. Thus, the road trip begins...hobo-style.

To give much more away would be a crime, but the kid and the geezer are well matched and this gives the movie a lot of laughs and LOADS of memorable quotes from the old man. Joe Seneca was a great actor and I believe this was one of his best performances. Ralph Macchio is perfect as the kid and we really do believe that he is obsessed with the blues. Jami Gertz also gives a credible performance as the temporary love interest. She's perfect for the part.

I really can't praise this movie enough. The music alone, is enough to reccommend it (Ry Cooder rocks as always) and if you're into the blues, chances are you've already seen it. If you can find this one, it's well worth a rental. I guarantee that you won't watch it just once. I can't wait for the dvd. 10/10

I feel like 'Crossroads' doesn't get talked about a great deal. That's unfortunate, because although the greatest appeal may be to a more limited audience, it's a very good movie that deserves more attention.

Before I knew who legendary guitarist Steve Vai was, I had first discovered Yngwie Malmsteen. It was because of that small kernel of knowledge, buying a Malmsteen record at a store long ago, that an employee mentioned 'Crossroads' to me, co-starring Vai, as a film I may enjoy. All that to say: This movie is, above all, for musicians - guitarists especially - or for people who enjoy guitar-centric music.

Even for a general audience, though, 'Crossroads' is very well made and enjoyable, particularly in the "coming of age" genre that can become milquetoast very quickly. The writing is solid: Juilliard student Eugene (Ralph Macchio), fascinated with blues music, seeks out Willie (Joe Seneca), a musician that once performed with the nigh-mythical blues legend Robert Johnson. Willie begrudgingly agrees to teach Eugene a purported "lost song" of Johnson's if the young man will help the aging harpist return to the south for some unfinished business.

The cast also includes a young Jami Gertz, Joe Morton, virtuoso Steve Vai himself, and even a small appearance by Tim Russ. They all perform well in their roles, convincingly moving the story along. But the meat of 'Crossroads' isn't in any production details, nor in the acting, but in the music, for which even the admirable screenplay is but a vehicle.

That the film is inspired by, and partly centered around, the legend of Robert Johnson's deal with the devil just about says it all. Nothing in this movie gets nearly as much love from the camera, from the writers, from the sound crew, or from the cast as those scenes where Eugene is playing the blues, with Willie at his side on the harmonica. Guitar music is very much the focal point of 'Crossroads,' culminating in the inevitable yet riveting climactic guitar duel that every film about music, or musicians, needs to furiously study.

While 'Crossroads' isn't a "musical" per se, music is so essential to the film that it's difficult not to draw a somewhat tangential comparison to movies filled with song and dance. And what I want to say in that regard is simply this: The average musical, good or bad, places a substantial amount of its weight behind glitz and glamor, pomp and circumstance, fireworks and spectacle. You're not just watching a movie, or listening to songs - you're getting the ultimate show, the all-inclusive experience, whether you like it or not. 'Crossroads,' on the other hand, is a film dominated by music that dispenses with every excess. You're watching not to be swept away by song, but to learn the blues. I said that the narrative here is a vehicle for the music, but that's not entirely accurate: the music IS the narrative. Even the characters are just window-dressing.

At risk of repeating myself, that emphasis on music is what somewhat limits 'Crossroads.' Though not necessarily so much so to have garnered awards, the film is solid. But unless a viewer is neck-deep in music, wholly engaged with the musicality on display, there's only so much otherwise to keep one fully invested.

At length, 'Crossroads' is a classic, and it holds up well even 35 years later. I am not personally engaged with music nearly as much as I used to be, but I still love this film, and I'd recommend it to just about anyone. The only caveat is that how much one enjoys it may depend on your musical preferences.

"The blues ain't nothing but a good man feeling bad" - Willie Brown

A little hidden gem from the 80's that I had ignored for so long... and I'm so glad I finally watched it. Ralph Macchio is basically another Daniel LaRusso in this and maybe that's what made the film so darn fun for me. I think this movie works on many levels, it's dark when it needs to be and there's plenty of 80's coolness as well. In my opinion Joe Seneca was absolutely brilliant as an old Blues man from down south. I'm a Blues fan myself but you don't have to be one to enjoy this film...

It's a blues music road fable based on blues musician Robert Johnson. It's set in the early 1980s and follows a young classical music student and an old blues man traveling from New York City to a crossroads in Mississippi to take care of business.

Eugene "Lightning Boy" Martone (Ralph Macchio) is a 17-year-old classical guitar student at the Juilliard School for Performing Arts. However, his real passion is early Delta blues, personified in the life of Robert Johnson, who died in 1938. Eugene discovers an old harmonica player, Willie Brown (Joe Seneca), who played with Johnson, is serving a term for murder in a New York prison hospital/nursing home. Eugene gets a part-time job at the hospital to meet Willie, who he wants to teach him a mysterious 30th song that Johnson wrote but never recorded. Willie agrees only to help if Eugene gets him out of the hospital.

"Crossroads" follows their efforts to reach the crossroads in Mississippi. Along the way, Eugene learns Willie doesn't always tell the truth. They also travel for a time with Frances (Jami Gertz), a 17-year-old runaway girl who claims she has a dancing job in Los Angeles. Eugene learns much about life and what it takes to put the soul into playing the blues. After multiple adventures, there is a climactic encounter with the Devil (Robert Judd) and another guitarist who has sold his soul (Steve Vai), determining the destiny of Eugene's and Willie's souls.

"Crossroads" is a fun, albeit not insightful, film about the blues. The soundtrack is excellent, though I would have liked better blues in the climactic encounter rather than faux Jimi Hendrix. The film includes a nice level of humor. Macchio and Seneca have good vibes together; Gertz isn't quite on the same song sheet.

This still remains the guitar fan go to movie, this soundtrack is unsurpassed. It has it all, classical & blues acoustic, then R&B / rock electric. This is from a time people argued whose the best guitarist or drummer. Sadly now music challenges are who can rhyme most insults. Yes I think rap should be spelt with a c, and DJ sampling is nothing other than theft. There'll never be great musicians again apart from niche listening.

Extraordinary soundtrack. Any blues lover would love the music. While the story had a good premise, I question the choice of Ralph Macchio as Eugene. I had a hard time differentiating Eugene from Daniel of The Karate Kid. Joe Seneca's "Blind Man" was equal to Pat Morita's "Mr. Miyagi." Two wonderful actors in similar roles. Macchio seemed genuinely into the part, but he had a hard time selling me on the character

If there is one movie about Blues, then there is the one. I remember watching it for the first time in 1992 0r 1993, and since that time I am hooked! The theme, the deep South, the music, the cast - all is thrilling and the long, slow blues tracks by Ry Cooder are simply mesmerizing. The very trip done by Willy Brown and his young accolade to the South in search of the lost 30th Robert Johnson is so well done that you almost feel the smell of corn and whiskey. And then there is young Steve Vai who utters not a word in the sequence of duel but does a marvelous work as an actor and solo guitarist. That breathtaking Jackson / Telecaster, Metal / Blues, Shred / Slide duel is a highlight of the whole film. Man, ain't it cool!

I will always have soft spot for Ralph Macchio because I am from that generation that saw him in the original iconic Karate Kid. And even though I have that soft spot I basically never saw any other good performance of him. Then I stumbled over Crossoards browsing on Netflix. Don't get me wrong, I don't think Macchio delivers an Oscar performance here but somehow it seems that if you pair him up with an older actor that it creates a certain power dynamic between those two.

Karate Kid is a movie about a boy mentored by an older man that is kind of a father figure that teaches him a craft but also teaches him about life. Crossroads does exactly the same just in another context. I was in awe that this movie worked from the first second even though it is from 1986 and I am 39 years and I have never seen it. Is a really a testament of how good it is. It has some wackiness about it at the end but it is just a well told story about two men and their amazing journey.