It seems that in the film industry the era of musical biopic begins again. But “Rocketman” has one huge difference from most of these paintings: the main character of this film is alive. Moreover, Elton John is a self-directed movie producer who is very deeply involved in his production.
Comparison with “Bohemian Rhapsody”, which took a pair of Oscars last year, is inevitable - there was a very small gap between the films, and the director is the same. Dexter Fletcher took the seat of Brian Singer, finished shooting the Rhapsody in late summer 2018, and in September already took on the Rocketman.
And the first frames, to be honest, force you to roll your eyes from self-repetition: the film begins with the protagonist in a stage costume walking along the corridor of the concert venue, flavored with a slow-mo and slightly slow-motion version of the rhythmic hit. But after only half a minute, everything falls into place and it becomes clear that it was not just self-repetition, but a malicious snicker in the direction of another picture.
This is not Rhapsody. This is much better. And the film is interesting even to those who are familiar with the work of Elton John only in "Believe", "Can You Feel The Love Tonight" from "The Lion King" and "Saturday Night's Alright", which was included in one of the bloodiest scenes in the second "Kingsman ".
The main feature, the charm of the "Rocketman" is that it was created by Elton John himself. Not those who were near him and, according to them, knew him as flaky. Not those who worked with him. Not those with whom he slept - but he himself. It’s not even that the autobiographical story, some facts in it are distorted for the sake of entertainment absolutely on purpose. Rather, the "Rocketman" feels like a heart-to-heart conversation. As if Elton John took it, gathered everyone in the hall, sat on a chair, picked up a microphone and said: “Well, now I’ll explain to you how I got to such a life.” And to voice this monologue of his, he chooses his songs, putting the right tracks at the right moments. Yes, the era does not always coincide - but the theme is correct.
"Rhapsody" is a view from the side. This is an interpretation of the life of Freddie Mercury by all those who had a hand in the creation of the film. "Rocketman" is a look from the inside out as much as possible. This is such a therapeutic introspection, full of irony and sarcasm, brightened up for show moments, becoming more and more open, honest, naked, sharp every second.
Not all stars love themselves so much that they shoot silent biographical musicals during their lifetime. The story with Rocketman is not simple: for the first time, Elton thought about this film at the suggestion of his spouse ten years ago, but work began to boil only very recently. Theron Edgerton, who sang the gorilla’s very motivating song in the Beastman, successfully caught Elton’s attention. After working together in the second Kingsman, Elton already saw no one except Edgerton in the role of his beloved. In the film, by the way, Edgerton also performs songs himself, very successfully imitating Elton's manner of performance.
They say that Elton, who saw a photo of a made-up Edgerton, thought it was some kind of archival photograph. At the end of the film, there is a traditional comparison of frames with reality, and it is quite understandable: the shape of the face is different, Theron is more healthy, but the facial expressions are very expressive.
This is not just a biographical film about a musician, but a full-fledged musical. Musical numbers are woven into the plot, and are woven organically and seamlessly. For me, the whole film seemed to be a tour of the back streets of Elton John’s consciousness, and the transition from some plot moments to musical numbers just because of this sensation didn’t seem ridiculous, because some surprisingly suitable song can always jump out of your brain and you just have to put up with it.
Against the background of plot events, by the way, Elton John’s songs are also played - only in a revised version. Giles Martin's slower instrumental arrangements blend in perfectly with what is happening on the screen, complementing the actors' play and the work of the operators.
Yes, I want to praise not only Theron Edgerton, but also other performers. The role of songwriter Bernie Topin, with whom Elton John basically began his career, turned out to be soft, romantic Jamie Bell, perfectly conveying both the joy of the rapid take-off, fatigue, and the willingness to be near, and the seductive and bastard manager John Reed played Madden, and hardly anyone would be able to show almost sociopathic prudence as good as he is. Particularly beautiful is Bryce Dallas Howard in the role of Elton's mother - selfish, detached, caustic and, it seems, not at all loving either little Reggie Dwight or an adult Elton.
This trip through the corridors of someone else’s soul is striking in its rock and roll. What was not enough in Rhapsody was detachment, fumes, a child of revelry. Elton, on the other hand, had been amply entertained since his teenage years - one of the first musical numbers for the very same “Saturday Night’s Alright” clearly shows how to spend Saturday evening in the British outback. There is not a single moment in the film in which one would have to get bored: it is all - a series of unstressed key events, now smoothly, now abruptly flowing into each other.
Brightness, pathos, grandeur, all this wild scale inherent in superstars, an overdose of luxury and chic, the craziness of the seventies - this is more than enough in Rocketman. And all this tinsel is in its place. She is part of the character’s life, fused with him, and therefore looks like it should. And again, I think it’s worth thanking Sir Elton, who understands that his life cannot be shoved into the framework of the PG-13 family rating. I am now not only about all kinds of parties, drugs, alcohol and other undesirable things for children to watch, no. I am now about the very approach to the picture.
May and Taylor, who created Rhapsody, played in very safe territory, as if unconsciously contrasting themselves as exemplary family men with Freddy's depraved lifestyle. In “Rocketman” there is no such artificial opposition, there is only a reality processed with the main character processed and reflexed with all the conclusions.
Elton John has been a broken man since childhood. The disliked "introverted extrovert" who wanted to find his place in this life and his happiness, he is shown as a shy person, accustomed to keep everything in himself, who puts on masks, one after another, with increasing popularity. And this whole film is a breakdown of those same masks. This recognition is for oneself and others, those who are near.
Theron Edgerton in a red suit with horns and bright wings leads the viewer along the roller coaster of his character’s life, gradually throwing off both horns and wings, tearing off rhinestones and wrapping himself in a soft, homely terry bathrobe. It no longer makes sense for him to seem like someone - in the end he wants to simply be himself.
The whole film is an attraction, fascinating even for those who are not interested in Elton John. The authors themselves call it "musical fantasy", and this is perhaps one of the most correct definitions. In the story of real life, there is a place for magic and phantasmagoric hallucinations. It would seem that the film itself is full of cliches - and a bad childhood, and there is no one to love, and ups and downs in a career. But all this is served easily, without deliberate tear extrusion. And all this re-enchanted extravaganza is woven into a very important conversation about finding a place in life, seeking happiness, finding and accepting oneself.
This is a good, bright, high-quality, interesting movie. In general, it has everything that the Bohemian Rhapsody lacked.