Mister Tee wrote: But, between this, Yesterday, and a movie I just saw coming attractions for about a guy who does all of Springsteen's stuff, I fear this is becoming the baby boomers' version of the super-hero movie: golden oldie comfort food.
And it is getting out of control: add Respect, starring Jennifer Hudson, to your list as well as Stardust, the this-is-not-a-biopic about David Bowie.
Edit: I forgot to mention that Timothée Chalamet has been cast as Bob Dylan in a film entitled Going Electric. The movie will show how Dylan made it from folk singer to rock star and will focus on when he started to use the electric guitar in 1965.
"If you place an object in a museum, does that make this object a piece of art?" - The Square (2017)
Rocketman is a better film than Bohemian Rhapsody but I think I preferred the latter as a piece of entertainment. Despite how bone-headedly dumb Bohemian Rhapsody could be, it was a film that took place in the present, always throttling forward. Even though Rami Malek didn't really capture Freddie Mercury's sexuality, at times the film proxied it. I found it easier to accept as trash than the more ambitious jukebox musical Rocketman. I think it was said here somewhere (I don't remember who wrote it) but the film doesn't make enough of a meal of the relationships between Elton John's on-stage flamboyance (and his music) and his awkward nerd outsider status off-stage. Egerton is too damn handsome and isn't given any awkwardness to play. The main struggle in this Millennial rebrand of Elton John's life (and understanding his music) isn't learning that life isn't fair and that the world can be a cruel place... it's just learning to love and accept yourself. The bad guys are authority figures that should be rejected outright. Even in the film's darkest moments, Rocketman feels posivibes only. There is absolutely no effort or torment in being a performer. It's just something inside you from day one of your life and writing a song is as easy as listening to one. It just ends with his sobriety and a good times photo album. It should be said that this film has one of the shallowest ides of the singer/songwriter relationship I've ever seen. I have no idea what Elton and Bernie working together must have been like but it couldn't have been this.
To be fair: it's a jukebox musical so it's excusable. The reason why it mostly works is that Taron Egerton is just so absolutely committed to this role and this movie. His energy just pours off the screen. Even when it's misguided, there is a joy of performing present that kept me rooted in it. And he got me to believe in at least a version of Elton John.
I think my favorite moment of the film is among the cheesiest: the camera circling around him playing and singing “Pinball Wizard” and we see several costume changes. It’s just a moment of pure cheese and flash that embodies what the film is at its best and most unapologetic.
Mister Tee wrote:Plus, though the end credits cited Candle in the Wind, I never heard it.
You can hear an excerpt, actually, the first few notes, when Elton first auditions for Ray Williams, before admitting he can't write any lyrics; after this, Williams gives Elton some Bernie's lyrics.
"If you place an object in a museum, does that make this object a piece of art?" - The Square (2017)
I saw this weeks ago, and haven't got around to saying anything about it because, really, what is there to say? It's fine. It's probably better than Bohemian Rhapsody. Certainly it's more creative, though I wonder if it's too creative for its own good. At times it's a biopic with songs performed; at others, it's a full-on musical; and, at still others, it spills over to Bollywood excess. With all those swings, it's hard to keep a full handle on what it's meant to be at the core, other than a subject-approved salute to Elton John. I'm sure Elton and the creators think of this as warts-and-all bio, but the "he triumphed past all those warts" tone of the final moments makes this feel more like the dread authorized version. Bohemian Rhapsody's finale had more impact because, though it ended on a note of triumph, we know the subject died young, rather than aging into a royally-approved institution.
In the end, it's most enjoyable as the Elton John songbook, a bountiful offering. (There must be 20 songs given some attention or other, and that was leaving out major hits like Philadelphia Freedom and Island Girl. Plus, though the end credits cited Candle in the Wind, I never heard it.) But, between this, Yesterday, and a movie I just saw coming attractions for about a guy who does all of Springsteen's stuff, I fear this is becoming the baby boomers' version of the super-hero movie: golden oldie comfort food.
First – it’s a better film than Bohemian Rhapsody (this is the first observation one must make, isn’t it?). Or maybe it's just an easier one to accept, and it has a lot to do, indeed, with the fact that rather than a (not good) biopic about a musician, it’s a musical inspired by a musician’s life. And as such it moves along rather ok. It does suffer from two major flows though.
One is the simplistic you-are-allowed-to-love-yourself-Elton therapeutic take of the screenplay – great approach for Life (so I’m told), a lousy one for Art.
The second one reminded me of my issue with I, Tonia (ok, one of many, but a major one). Both John and Harding were very gifted yet unattractive people – never a pleasant attribution to have – trying to make it in fields in which one’s physical allure and sex appeal are crucial factors. Harding had no chance having to compete with the Nancy Carrigans of this world, John was not a David Bowie. So, the former smashed other people’s joints, the latter hid himself under extravagant costumes, grotesque massive glasses and all kinds of addictions. Whatever. Still, to really get these people, one must be presented with this aspect of their personas.
In comes Hollywood and the gorgeous specimens it employs, and one is left scratching one’s head. And while Egerton’s work here is superior to Robbie’s, he is, in a likeable and non intimidating way, a very attractive man, so on a very fundamental way, which has nothing to do with his actual acting, his performance fails to make sense.
Actually, I'd be interested to see if anyone picks up two minor goofs that I did during watching the film.
The first is when Elton John first visits L.A. in the early 1970s. There is a shot of Sunset Boulevard which is the introduction in the film to his arrival in the U.S.
Archival footage has been used in the film but on one of the billboards on Sunset is a poster for a movie from the mid 1980's. I'm not going to say what film it is but I'll be curious to see if anyone catches it because it is a bit of a blink and you it miss moment and I think you may have to be familiar with the artwork for the film because the title is not that prominent as it flies past so quickly.
The second is much later in the film when Elton is a men' s rest room (and no, the scene has nothing to do with gay sex) and the basin is mostly definitely not from that era but are what you see quite often. I always find it funny picking up contemporary furnishings in films set in the not too distant past.
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
Precious Doll wrote:Bryce Dallas Howard has to be the most bizarre casting (and performances) I've ever seen. I really don't quite know what to make of it.
Not sure why, but observations like this will often get me to see a film faster than a full-out rave.
Thought I may as well start a thread on Rocketman as it may (or may not) be a player later in the year.
As of this post the film is 91% on Rotten Tomatoes and 73% on Metascore and had a solid opening weekend in the US and internationally so its off to a reasonable start.
There is no doubt that Aaron Egerton will get a Golden Globe nomination and there is no doubt the film will be placed in the comedy/musical categories because some of Elton Johns songs are performed as set pieces with a number of actors also singing them. Elton John's song are at times used to drive the narrative forward as well as in writing, concert performances and video clips.
One can't help but make comparisons with Bohemian Rhapsody for a number of reasons including that Dexter Fletcher finished Bryan Singer's work on BR and is sole director on this film. Of the two Rocketman is certainly directed with much more flair and invention but is a hit and miss affair. Like BR I didn't think the film was actually 'good' but like BR its very enjoyable. That it is a more open and honest portrayal does give Rocketman the edge over BR.
As for Oscar nominations, well I think we'll have to see how it all plays out and its too soon to make any firms predictions but I certainly wouldn't rule out film, actor, supporting actor, costume design, art direction and the sound related nominations at this stage.
Bryce Dallas Howard has to be the most bizarre casting (and performances) I've ever seen. I really don't quite know what to make of it.
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
