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)”
Against a barrage of bad reviews, I tried to give Cats a fair hearing. There may have been wine involved…
“I remember the time I knew what happiness was”
I wanted to like Cats, honest. But…but…everytime you look at a detail in this unexpected horror film, there’s something ungainly or odd that distracts you inordinately:
the scale of the damn thing. The mind boggles as the cats change from being tiny compared to railway tracks to almost human-sized at Nelson’s Column, bringing almost any object into screen ends up pulling focus as you try and work out wtf is going on
why do some of them wear shoes (the ‘street’ cats in trainers, TSwift in heels…?) and of those who don’t, what’s with the toes
in fact the whole anthropomorphic thing. There’s cleavage and six packs but no genitals or anuses. You wouldn’t think it would bother you so much but there’s so many lingering shots of these places…!
the dancing cockroaches in danger of being eaten. Whyyyyyyyy?!
it’s rather amusing that pretty much every reaction shot of Dench is her looking aghast, we know how you feel Judi
An unfortunate waste of talent all-round I’m afraid.
The third series of Chris Lang’s Unforgotten is another corker, and not just because of Nicola Walker, honest!
“We’ve all done things of which we are ashamed”
The cold cases of Unforgottenhave rightly proved a success for their alternative tale on crime drama, putting a real focus on the victims rather than the crimes, a neat corrective to the sometimes exploitative gaze that can characterise this genre. And this third series maintained that strong record (quick review of episodes 1 and 2 here)
A measure of the regard in which Unforgotten is held is the sheer quality of its cast. With James Fleet, Alex Jennings, Kevin McNally and Neil Morrissey as its lead quartet, it added Sasha Behar, Emma Fielding, Indra Ové and Amanda Root as their partners, and then threw in Siobhan Redmond and Sara Stewart as exes as well. Continue reading “TV Review: Unforgotten Series 3”
The third series of Unforgotten starts and once again, Nicola Walker fails to disappoint
“Who buries a body in the central reservation of the M1”
They’re back! Nicola Walker’s DCI Stuart and Sanjeev Bhaskar’s DS Khan sit at the heart of Chris Lang’s cold case thriller Unforgotten and for the previous two series, have been extremely impressive. Carving out a niche in the crowded police procedural TV market is enough of a job but doing it this well is noteworthy.
So it is little surprise that they have returned for a third series and though the format might be creaking ever so slightly as the same model is recycled once again, there’s enough here to point out the differences between so many of the other programmes who long to be recommissioned and respected this much. Continue reading “TV Review: Unforgotten Series 3 Episodes 1+2”
It’s taken me a little time to get round to writing this review, which is rarely a good sign, as I was struggling for anything entirely constructive to say about this film. The 1991 animated Beauty and the Beast was Disney close to its best but these days, nothing is left alone if it has even the merest hint of cash cow about it. So it has previously hit the stage as a musical and following the success of Kenneth Branagh’s Cinderella, it now has a cinematic live-action remake.
Which is all fine and good but just because you can do something doesn’t mean you should. And at no point does Bill Condon’s film ever convince us that the world needed this version of Beauty and the Beast, there’s rarely any sense of it bringing something new and insightful to the story. Plus the contortions it (and star Emma Watson) has had to make to try and convince of its feminist credentials scarcely seem worth it in the final analysis. Continue reading “Film Review: Beauty and the Beast (2017)”
Producer Judy Craymer reinvigorated a whole new theatrical genre when she masterminded the ABBA jukebox hit Mamma Mia! to huge box-office success, and so proved the natural choice to steer a show featuring the back catalogue of the Spice Girls and a script by Jennifer Saunders into the West End. The resulting show –Viva Forever – is a story of a young woman who is forced to ditch her bandmates in pursuit of her reality show dreams, the mentor who is determined to exploit her in order to secure her own media career and her mother who is on hand to make sure she never forgets who she is. But it is one that doesn’t quite so much fill the Piccadilly Theatre with girl power as a sense of what might have been.
Crucially, the discography isn’t always sufficient for the task in hand of a jukebox musical. Delving into some of the lesser-known works of the Spice Girls isn’t as much as a problem (though front-loading them so is a curious choice as we have to wait a while for a stone-cold hit) as the way in which the lyrical content has to be shoehorned in, resulting in some awkward fits – ‘Say You’ll Be There’ suffers particularly here. But equally, there are moments that do work. The act 1 closer weaves together ‘Goodbye’, ‘Mama’ and ‘Headlines’ in a rather stirringly affecting manner as the three women reach crucial points in their journey; ‘Spice Up Your Life’ becomes a dazzling fiesta of a Spanish street festival; and the titular ‘Viva Forever’ is recast as a tenderly intimate acoustic ballad. Continue reading “Review: Viva Forever, Piccadilly Theatre”