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“Rocketman,” a biopic about Elton John’s life and music, is a formulaic, paint-by-numbers biopic. When the film begins, it takes us to a pivotal moment in the singer’s life, then takes us back in time to show us how he got to that point—a narrative device that was already a cliché when the brilliant “Walk Hard: The Dewey Cox Story” parodied it back in 2007.
There are songs you’ve heard and loved for decades in this tried-and-true jukebox musical fantasy, which appears to have been prepackaged for the Broadway stage and is packed with sing-alongs to get your feet tapping. According to what we’ve been told, John’s songs are inspired by significant events in his life. As is customary in the music industry, there are plenty of montages: the obligatory depiction of John’s hits rising up the charts and racking up gold records; the concerts, headlines, and adoring fans; the shopping sprees to spend his obscene wealth; the trying-on of various ornate, spangled get-ups; and all of the sex and drugs that go along with the territory of rock & roll
When it comes to the structure of the film and the ultimately uplifting story it is attempting to tell, everything is very safe – which is ironic given that the film is presenting the life of a man who took risks with his larger than life and outrageously extravagant stage persona. Elton John, on the other hand, is very much alive and involved in the production, serving as an executive producer on the film and an adviser to Taron Egerton, the young actor who portrays him with great zeal and enthusiasm. (“Rocketman” premiered to rave reviews at the Cannes Film Festival earlier this month, and the two even performed a duet together afterward.) Even John’s selfish and self-destructive behavior serves as fodder for a larger redemption story, so this is not a straightforward portrayal of him.
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Despite this,… despite this. It’s impossible not to be blown away by Egerton’s performance, which is filled with thrills and vulnerability, charisma and pathos, among other things. Egerton, who was previously best known for his starring roles in the action-comedy “Kingsman” films, gives it his all in this role that was both physically and emotionally demanding. You can see the effort on display here in what was clearly a physically and emotionally demanding role. That includes doing all of the singing himself, which adds a level of accessibility that, for example, “Bohemian Rhapsody” does not have (and we’ll get to all of the inevitable comparisons in a moment). Because he doesn’t look or sound exactly like John, it’s probably preferable to do a straight-up impression rather than a parody. He captures the right atmosphere, and he exudes a genuine and endearing screen presence. Even by itself, it’s almost enough to make you wish the film that surrounds him was just as brash and courageous as he is.
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And, yes, it is at times. Frequently, director Dexter Fletcher and writer Lee Hall arrange and stage the musical numbers in such innovative ways that they achieve a new level of meaning in the lyrics and almost give the impression that the audience is listening to the songs for the very first time. Considering that John’s songs have been standards on the radio, in movies, and at tourist traps with sing-along piano bars since the 1970s, this is a difficult feat to accomplish. This is especially true of “Rocket Man,” which flows so beautifully and covers so much ground that it feels like a mini-movie unto itself. “Rocket Man” is a great example of this. In addition, the quiet and intimacy of witnessing John work his way through “Your Song” at a piano in the living room is unexpectedly moving. A particularly inspired move occurs when John’s longtime collaborator and close friend, songwriter Bernie Taupin (a lovely Jamie Bell), performs “Goodbye Yellow Brick Road” at a point in their relationship when the two men are at their lowest point. Again, these brief flashes of brilliance are appreciated, but they also make you wish that the filmmakers had displayed the same level of daring throughout the film.
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Upon our first encounter with John, he is parading into an AA meeting dressed to the nines in feathers and crystals, having just returned from the stage. He expresses a strong desire not to be present. Nevertheless, while he has your attention, he might as well tell you a short story. To John’s childhood (when he was still Reginald Dwight), a piano prodigy with a judgmental, emotionally withholding father (Steven Mackintosh) and a distant, promiscuous mother (Katherine Hepburn), we cut to the present day (a distractingly miscast Bryce Dallas Howard). As implied by the title, John’s creative life – indeed, his entire attention-getting persona – has been an elaborate attempt to win his parents’ love and approval, and that his substance abuse has served as a means of dealing with the pain of his parents’ disapproval. That may be correct, but it also appears to be overly simplistic.
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It hits all the right notes: his meeting with Taupin in late 1960s and the germinating seeds of their long-term collaboration; his development as a performer and the creation of his distinctive signature style; and his breakthrough performance at the Troubadour in Los Angeles, which made him a star. Tate Donovan’s portrayal of legendary nightclub owner Doug Weston is so endearing that it makes you want to see an entire film about him and all of the acts who made their names there in the 1960s and 1970s, which is exactly what happens in the film. In addition, it is in Los Angeles that John meets his manager, John Reid (a menacingly sexy Richard Madden), and begins his descent into a life of debauchery. (Did John really come up with the song “Tiny Dancer” while taking a stroll around the late-night party scene at Mama Cass’ house? Perhaps not, but it does evoke memories of a specific location and time.)
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Which brings us back to “Bohemian Rhapsody,” since we’re on the subject of rock-star wretched excess in the first instance. While watching “Rocketman,” it’s impossible not to be reminded of Freddie Mercury – and of Rami Malek’s Academy Award-winning performance as the Queen frontman. Both were flashy, gay, British musical icons who, around the same time period, were known for creating insanely catchy tunes. Both reinvented themselves in order to get away from the reality of their mediocre upbringings. “Bohemian Rhapsody” was released only a few months ago, but it was a huge hit, so it’s still fresh in our collective memory. Moreover, Fletcher directed both films, having taken over as director of the Queen biopic following Bryan Singer’s dismissal from the project. In many ways, “Rocketman” is the superior film, but both films follow such a predictable narrative that they are both frustrating to watch at the same time.
Having received a R rating, “Rocketman” is sexier, raunchier, and more profane than most other films on the big screen. It is more forthright about John’s sexuality, which lends it a greater sense of genuineness. In the end, however, both films make the mistake of spelling everything out and wrapping things up in cringeworthy and overly obvious ways. During one of the AA meeting scenes, there’s a moment that I could see coming from a mile away that I almost had to watch through splayed fingers because it was so painfully obvious. However, you may be preoccupied with singing “Crocodile Rock”—or “Saturday Night’s Alright For Fighting,” or “I’m Still Standing”—as you exit the theater, and you may not notice.
For more personality quizzes check this: The Lego Movie 2 Quiz.
