Directed By Dexter Fletcher
Starring – Taron Egerton, Richard Madden, Bryce Dallas Howard
The Plot – A musical fantasy about the fantastical human story of Elton John’s (Egerton) breakthrough years.
Rated R for adult language throughout, some drug use and sexual content
– British led cast. Everyone here is on their marks in providing depth to their respective character’s, as well as instilling a sense of value and weight within the story that makes them vital as supporting cast, but it’s clearly the tour-de-force performance by Egerton that everyone will be raving about minutes after they see it. This is not an impression of Elton John, this is Elton John. Taron gives his best performance to date, transforming the look and sound of his familiarity to compliment that of the imposing figure who he’s taking on, and there’s much eye-opening to be complimented about his work in the film. For one, he does all of his own singing, a feat that until the movie ended I had no idea about. While obviously not as strong or passionate as John behind the mic, Egerton has clearly done his homework, establishing the line of variety in genre offerings from John’s catalogue of music that changed with the scenery of pre and post disco influence. In addition to this, Egerton’s psychological delve is one that captures the energy, love, loneliness, and despair of the singer through some of his biggest triumphs and darkest disasters, and Taron’s timely grip on the pulse of the ever-changing dynamic of the character is one that feels earned brilliantly with the tides of the script.
– Breathtaking production value. This is where the film separates itself from other biopics of the genre, as the look and feel of “Rocketman” was made for the big screen. What allows it to spare itself from feelings of TV-movie-of-the-week budget is in the immense scale of choreographed-led musical numbers, practical precision in make-up designs, vibrant boisterousness of costume design, and a feast for fantasy that blurs the line of reality and imagination seamlessly. If every musical biopic had this level of focus and budget expressiveness, then we would be able to emit the fun from all of the raw energy contained inside, but Fletcher knows that John’s story certainly isn’t a cheap one to tell, and it leads to a barrage of lucid surrealism that benefits from the drug-fueled intensity of the cocaine age.
– R-rating. I still don’t comprehend how “Bohemian Rhapsody” could even imagine telling Freddie Mercury’s life story with the limitations set by its studio and the PG-13 tag it was given, but the decision here to travel the adult route with its material pays off in spades for the way it can properly articulate the meat of its material. From the carelessness of Elton’s diverse sex life, to the abuse of illegal drugs and narcotics, to the rapid-fire fury of the English dialogue, everything is covered in vivid detail, giving audiences a no-apologies depiction of a heralded figure for better or worse, and it gave me great appreciation for the screenplay to use Elton’s biggest negatives to craft an enveloping layer of indulgence for the audience, as well as a dramatic layering to the story, which feels far from topical. Nothing ever feels overdone or desperate to fill an R-rating quota, and it keeps the air of honesty to Elton’s engagements on display in the exact manner they took place.
– Wide range of story. As to where most musical biopics only cover a brief sampling of the artist’s fame, “Rocketman” has an appreciation for everything Elton John, as well as Reginald Dwight. Kicking off during his early days as a kid in dealing with two mentally abusive parents, the film eventually takes us through the entire first half of Elton’s immense 40 year career, before settling down during the days in rehab that eventually changed his life for the better. This seems like a lot to cover in nearly two hours of film, but what’s remarkably shocking is how the film gives ample time to each important chapter without alienating the fluidity of pacing that is nearly always smooth in transition. Beyond this, the storytelling tool in narration is one that I found to be very clever, not only for the way it is set-up in the opening scene of the movie, but also for the way it evolves in diminishing wardrobe with every beat of the story. It gives food for thought in the stripped down nature of John starting and ending his career as Reginald, and comforting us with a blanket of clarity as he finally feels comfortable being the man he was born to be.
– Meaning behind the soundtrack. The film has no shortage of Elton favorites to choose from, conjuring up around twenty-five favorites from the musician that take us through the roller-coaster momentum in his trysts with fame, but there’s something more elusive to the way that each song and sequence transition, proving that Elton always used life as a means, and music as a therapy to bind the two world’s. Films make many mistakes in this aspect, because they often depict a popular song being made in the most topically obvious and unintelligent demeanor, but the almost freestyle effort of song writing that John displays feels replicated from the previous scene in a way that naturally harvests from a tortured soul. It was in this area where I learned the most about John that I didn’t previously know before the film, and helps cement an audible reflection to what’s transpiring inside of Elton.
– Passage of time. I hate to bring this film up again, but my biggest problem with “Bohemian Rhapsody” is how it mutilated important dates and events in Freddie’s life for the shaping of the film, but “Rocketman” gives an alluring and poetic design behind the way it collides with the sands of time. No dates or text is featured throughout the film, and even more shocking, huge amounts of time will pass not only for us the audience, but also for John, which results in him feeling like Rip Van Winkle, in that he just woke up from a ten year nap. What’s so cinematically appropriate for this direction is it captures the fragility and sacrifices paid not only to immersing in the live fast lifestyle that booze, drugs, and depression can form, but also in the routine of being a rockstar, which is anything but appealing by this film’s standards. We the audience are merely left to establish a time frame from iconic Elton fashions, as well as the look and feel of the world that changes around him with nuanced subtlty. It proves that the when isn’t nearly as important as the who or the why, and allows us to get lost in the devil of the details instead.
– Backdrop special effects. This is all done on green-screen, but you would never know it because of the impeccable technology associated with visual time travel in the same vein as Marvel’s ability to de-age a particular actor. This gives us time to soak in the glitz and glamor of the Hollywood specter, as the world famous Troubadour bar becomes youthful again, complete with posters in the windows which are no longer present, and an architecture design that reminds people that the location grew just like Elton did once the two were married in rock and roll on that legendary night in August 1970. If this is the direction that production teams are taking us, then soon there won’t be any need for on-site shooting, and while there is an element of tragedy to that circumstance, the believability and texture shading of flawless computer generation will at least help trim production budgets accordingly, all the while articulating past ages in a way that feels far beyond a visual gimmick.
– Juggling of tones. I wasn’t surprised in how much comedy filled the script, but what did surprise me was the landing power of such witty banter all the while the sting of dramatic elements were being felt. These two co-exist simultaneously through Reginald’s loveless home life, to his questioned sexuality in his later years, to the single most romantic non-sexual friendship between Elton and lyricist Bernie Taupin, and what’s more important is that neither are compromised because of the other’s influence on the dynamic of a particular scene. This film took me on an emotional registry of laughter, fear, curiosity, and sadness for the evolution of the story, proving that it would rather appeal to a broader spectrum of audience tastes rather than cater to the limitations and cliches of one respective field.
– Fletcher steals the light. This is the very same director who finished “Bohemian Rhapsody” (There I go again) from the disastrous production that hindered it to finishing as just a decent final product, but with “Rocketman” it’s a fresh and complete start for the man at the wheel. What we learn from his stroke is that he values the human side of the heralded superstar, carving out a helping of audience investment that keeps us glued to the unfolding drama and tension within Elton’s life that is more urgent because of that focus. Likewise, the influential photography breathes a light of audience connection that features John singing to us the audience, instead of the grand scale that we have come to expect in cinematic musicals. It cements a feeling of professionalism and on-screen presence in rendered style that garners a developing visionary in Hollywood, thanks in whole to commanding the stories of two of music’s biggest icons.
– Technical inconsistencies. This brought forth two noticeable problems, with the first dealing with the uninspiring levels of cinematography established in interior office scenes. The coloring scheme and textures establish a level of generated lighting that does nothing to compliment the appeal of the scene. Likewise, a continued problem for Fletcher’s editing team remains prominent in this film, as the editing is far too choppy during scenes involving two character’s. It made for some highly distracting scenes during moments of heartfelt resonance, which deemed it necessary to show us the same line of dialogue in as many as three different angles for what I guess is towards the better of understanding the essence of the conversation? Either way, less anxiousness in illustrating these casual scenes.
My Grade: 9/10 or A-