Elton John gets in on the self-produced musical biopic game, meaning Rocketman is gonna take a long long time to get anywhere near the truth
“People don’t pay to see Reginald Dwight…
they pay to see *Elton John*!”
I always find there being something a little suspect about the subject of a biopic being intimately involved behind the scenes, that sense that you’re only being permitted to see a carefully curated version of this particular story (cf Tina the Musical, On Your Feet onstage; Bohemian Rhapsody most recently on film). And Rocketman ultimately proves no exception, with Elton John executive producing and husband David Furnish getting a producer credit, and Wikipedia thus offering up a substantial list of deviations from what actually happened.
You might argue that as the film, written by Lee Hall and directed by Dexter Fletcher, isn’t a documentary, it doesn’t need to concern itself with an absolute fidelity to historical record. But I just find it fascinating this need to embellish, so much being smuggled under the umbrella of ‘creative license’ that can’t always be explained away with the ‘needs’ of filmmaking. Things as fundamental as changing the inspiration for Reg Dwight’s stage name from his mentor Long John Baldry to John Lennon, or claiming that ‘Daniel’ and ‘I Guess That’s Why They Call It the Blues’ were the songs he auditioned for with Dick James when neither had been written yet. At what point does that creative license start being straight-up dishonesty? Continue reading “Film Review: Rocketman (2019)”
“…something inside of me, it’s just been missing”
Ben Ockrent’s contribution to The Secrets is the rather tender The Visitor, the third in the series, where Dean’s life in his adoptive home is rocked when a young woman tracks him down and claims to be his sister. The cosy domesticity of his middle-class existence is thus challenged by the revelations that spill from her mouth but is her desperation rooted in complete honesty or something more calculating.
Ockrent explores the tension at the heart of Dean’s life beautifully, torn between the present and the past, questioning the strength of blood ties, and layering in the aspects of class and race that figure into the equation. Paige Meade’s Cassie is a Southend girl through and through and her rough edges clearly ruffle the liberal well-to-do consciences of Helen Baxendale and Anthony Flanagan’s parents Julie and Nigel. Continue reading “TV Review: The Secrets 3 – The Visitor”
“Which of us knows the truth about himself?”
Following the huge success of his centenary year in 2011, it seems safe to say that Terence Rattigan has now been fully rehabilitated back into the theatrical fold, somewhere near the top of the list of twentieth century British dramatists. One of his major plays that did not appear in London that year was The Winslow Boy so it is to that 1946 work that the Old Vic has turned, with Lindsay Posner directing a quality cast including Henry Goodman and Deborah Findlay.
The Winslow boy himself is Ronnie, a 14 year old cadet at the Royal Naval college at Osborne who is expelled in shame after being accused of the theft of a five shilling postal order. His father, retired banker Arthur, takes up the mantle of defending his son’s honour but the huge legal case that snowballs out from this affair has ramifications far beyond whether Ronnie is actually guilty or not. Continue reading “Review: The Winslow Boy, Old Vic”
“There are worlds beyond our own”
Philip Pullman’s His Dark Materials are amongst my favourite novels ever, and the National Theatre’s adaptation of the stories into a two-part play was a stunning interpretation that also ranks amongst my all-time favourites (I also trekked to Bath to see a youth theatre production and to the Lowry for a touring version). So the news of a film version of the first story, The Golden Compass (as it was renamed for the North American market from its original title Northern Lights) left me quite excited, though a little trepidatious at how Pullman’s writing would survive the Hollywood machine.
As it turns out, it didn’t really. Studio politics, script issues and intense pressure from Catholic organisations meant that the project had a most difficult genesis and creative process, Chris Weitz ending up writing and directing despite leaving the project and several other people working on it. So the tale of Lyra Belacqua’s brave journeying to the frozen north in a parallel universe to rescue her friend Roger as the mysterious Lord Asriel sets about a discovery that will challenge the highest Authority in the land which is so incredibly rich and detailed in the novel loses depth and magic to become just another special effects-laden fantasy flick. Continue reading “DVD Review: The Golden Compass”