ROCKETMAN (2019) – Review

Hey hard-rockin’ film fans, better hope the sound system at your local multiplex goes well past eleven because it’s musical biography time once more. Sure popular musicians have been recreated on screen through the years, Surprisingly the lives of Al Jolson and Fanny Brice inspired two hit films and a couple of sequels (THE JOLSON STORY begat JOLSON SINGS AGAIN while the great Streisand starred in FUNNY GIRL then FUNNY LADY). Ah, but late 2018, a little over six months ago rock and roll ruled the box office (and garnered 4 Oscars) with the story of Queen in BOHEMIAN RHAPSODY. And a fictional music flick, the fourth iteration of A STAR IS BORN, inspired by real performers and showcasing the acting debut of a current music superstar, grabbed a gold statue and lots of filmgoers. Plus earlier this year Netflix got into the act with a “biopic” of those heavy metal hellions, Motley Crue, called THE DIRT. Now comes another “early Oscar contender” based on the life of a true rock and roll icon. But unlike Freddie Mercury (the main focus of BH), this is a still “ongoing” life. And he’s a producer of this work. Ladies and gentlemen, let’s make some noise (wait, this is a movie theatre, not an arena or stadium, so silence, please) for Sir Elton John, the ROCKETMAN.

As we first meet EJ (Taron Egerton), he’s in a full flamboyant Elton-style outfit (perhaps designed by Bob Mackie), but in a somber, unlikely setting. This is where he begins to tell his story, starting with the early fifties childhood of middle-class lad Reginald Dwight in Pinner, Middlesex. He’s raised mainly by his free-spirited mum Sheila (Bryce Dallas Howard) and his nurturing maternal ‘grandmum’ Ivy (Gemma Jones). Reg yearns for the attention of his long-absent military man dad Stanley (Steven Mackintosh), who is just as absent when he finally returns home, acting cold and aloof around his boy. Luckily Reg can concentrate on his love of music becoming a piano prodigy. And with the help of his ‘two mums’, he gets a scholarship at the prestigious Royal Academy of Music. In his teen years, Regs plays jazz and bebop down at the neighborhood pub. But he’s got bigger dreams, spurred by that new sensation Elvis, and answers a classified ad which leads him to Dick James Music. There a young ambitious assistant named Ray (Charlie Rowe) books him as a back-up keyboard for some touring US music groups. Later, in a bit of kismet, Ray gives Elton (much flashier than the name Reg) a batch of song lyrics by Bernie Taupin (Jamie Bell). The two click immediately, but just professionally. Around this time Elton realizes that he’s gay, but tries to stay in the closet. Despite the grousing of Mr. James (Stephan Graham), the duo cut an album which begins to climb the record charts. The now supportive James books Elton and his band a gig…in America at LA’s Troubadour. It’s a sensation, to say the least. That night, at a wild 1970-style afterparty. Elton meets the enigmatic and handsome music producer John Reid (Richard Madden). Eventually they become business and romantic partners, with Reid running everything (even trying to arrange a “girlfriend/beard” for Elton). But with the pressure of stardom come the excesses of booze and drugs. As tensions mount between Elton and Reid, even alienating Taupin, will this new pop sensation survive his success, or will he be yet another victim of fast fame?

Though he’s known for his lead role in the KINGSMEN action franchise, this is the star-making dramatic role of a lifetime for the talented Egerton. He brings an exuberant infectious energy to the big musical numbers, whether it’s a flashy epic concert. a big set piece with gyrating extras, or an intimate duet. And yes, he does his own singing (sorry Rami), very well, even clearing up some of the often garbled lyrics (so the beloved TV star of “Taxi’ and “Who’s the Boss” is not name-checked in a pop ballad). Plus Egerton can more than handle the emotional demands, showing us a performer that’s pure confidence on stage who nearly breaks under the weight of a dark childhood and a toxic relationship. Elton lashes at in anger (especially at Taupin) ), but his real fury is directed inward as he gulps cases of booze and pills to deaden the pain. Speaking of Taupin, Bell brings a quiet dignity to the role of the “word-man”, often the voice of reason for Elton, sharing great mutual respect for the talents of each man. As for the other man in Elton’s life, Madden brings a silky sense of menace to the role of the lover we think our hero deserves, but who shows his true colors when given the “keys to the kingdom”. Dallas seems to be having some wicked fun as Elton’s “hot to trot” (in the words of Eric Idle, “Say no more, say no more”) outgoing mum, but she too possesses a casual cruelty toward the son whose talent provides her with everything (even a private island, since she’s embarrassed by him). Plus some great comic relief is provided by Graham as the coarse, vulgar James who has no taste for Elton and Bernie’s work, nearly withholding it from the public that will fill his pockets (shades of Mike Myers in BH). In one terrific scene, Elton begins playing soon-to-be hit singles from his new albums, but after a few notes, James cuts them short with insults (“That’s s#*t!! Next!!”). Plus American actor Tate Donovan scores some big laughs as the oh so mellow owner of the Troubador, being the right blend of hippy surfer dude and cut-throat capitalist (“Four shows! Four!”).

Actor turned director Dexter Fletcher, who worked with Egerton on the crowd-pleasing sports underdog bio EDDIE THE EAGLE, gets to step out of the shadows (he finished up the troubled BH last year…without credit) and delivers a bubbly nostalgic romp, at least in the film’s first two acts. He expertly establishes the decades, finding the right tone for the 50s through the early 80s. Fans of the rock and roll flicks mentioned earlier may be startled to discover that this is not merely a string of concert songs, but a true “old school” MGM-style musical with characters bursting into John/Taupin standards (hence the marketing phrase “musical fantasy”). These sequences almost feel lifted straight from recent hits like LA LA LAND and THE GREATEST SHOWMAN, though the choreography is often too “busy” with frenetic dancers doing intricate hand gestures and steps that distract rather than enhance the tunes. This made me wonder, several times, whether this was originally intended as a flashy Broadway extravaganza ala “The Jersey Boys” or “Beautiful: The Carol King Musical” (I imagined a truck just for Elton’s wardrobe for the touring company). One creative number just showcases Egerton as some neat CGI effects have him changing those incredible costumes as the camera spins around the piano (the lid takes up the screen, then…more crazy specs). But, much as with BH and ASIB, the fun screeches to halt as the substance abuse and hard-partying takes root, as Lee Hall’s screenplay covers some awfully familiar territory. Still, kudos to the filmmakers from not shying away from the main character’s struggles with his sexuality (no CRUISING-style montage, like BH). Plus his second marriage (to a woman) is covered (and dealt with dramatically). Unfortunately, BH takes the prize for the final act with the AIDS reveal and the triumph at Live Aid, since John’s tale finishes up with a shot-for-shot recreation of a 1983 MTV video (yes, it keys into his rehab, but just seems listless). This doesn’t take away from the stunning performances from the cast headed by Egerton, the sly bits of humor (Elton is needled about his receding hairline by his mum), and the amazing art direction and sets. And all in support of those timeless tunes. Those splendid songs are what make ROCKETMAN truly take flight.

4 out of 5