Billy Elliot | BS Reviews

In what has to be the strangest case of cultural appropriation, Glasgow, Scotland apparently has a country music scene. Rose-Lynn (Jessie Buckley; Beast) is a recently released convict hoping to become the next great country singer. She lives and breathes country music, is always seen listening (and singing to) the likes of Wynona Judd and Patty Griffin, and sings at a local country bar. She plans save up the money for a ticket to Nashville, Tennessee so she can make it big. In the meantime, she works as a maid for a wealthy woman.No love or knowledge of country music is needed from the audience. The genre is often derided for its references to tractors and pick-up trucks, but director Tom Harper (War & Peace) selects a variety of soulful tracks. The music is wistful and heartfelt with genuine longing and emotion underneath. Buckley, having placed second on a BBC talent show for her singing, has an incredible voice. Her vocals, especially with songs like “When I Reach the Place I’m Going”, capture her feeling of being out of place and the solace that music offers her. She says “I should have been born in America. I’m an American.” and after watching her perform, it’s hard to argue with her.

Rose-Lynn is, in no uncertain terms, a screwup. Despite her musical talent and fierce personality, she has made and continues to make many avoidable mistakes in her life. She’s a heavy drinker, quick to anger, and undisciplined. When her boss puts her on a train to London to meet with an industry insider, Rose-Lynn leaves her bags unattended so she can get drunk with other passengers and loses all her belongings. She has several shortsighted, self-destructive behaviors that undermine her chances of success.

Rose-Lynn’s children add a refreshing wrinkle to her story.

The most unique aspect of Rose-Lynn’s pursuits is her family life. Unlike most leads in a “follow your heart” type story, she has real responsibilities. She has two young children that her mother Marion (Julie Walters; Billy Elliot) has raised while she was incarcerated. Her daughter seems noticeably distant and likely resentful towards her mother for being absent from their lives and Marion has similar feelings. She wants her daughter to be the mother the children deserve, but Rose-Lynn is often irresponsible, making promises to her kids that she either forgets or ignores when her own priorities come up.

The tension between being a star and being a single mother is something that Harper keeps reinforcing. Many of Rose-Lynn’s potential big breaks directly conflict with her children’s needs and the humble, but stable life her mother wants for her. However, the film doesn’t fully address this issue and its finale, while heartwarming, is abrupt and sidesteps providing a viewpoint. Ultimately, Rose-Lynn’s story comes down to passion. She says she loves country because it is “Three Chords and the Truth” and the film succeeds based on the unbridled emotion Rose-Lynn brings with her music. There have been plenty of pop star rise-to-fame stories recently like A Star is Born, but Buckley’s winning performance and her character’s unique responsibilities are enough to distinguish Wild Rose and overcome its abrupt ending.

4/5 stars.

After the gargantuan success of Bohemian Rhapsody, Rocketman is the latest attempt at a box office smash using the hit songs of a beloved artist. Produced by Elton John himself and directed by Dexter Fletcher (Eddie the Eagle), who stepped in to direct Bohemian Rhapsody when its original director was fired mid-production, the film opens with Elton John (Taron Egerton; Kingsman: The Secret Service) telling the story of his life at an Alcoholics Anonymous meeting.

Unlike most biopics about musicians, Rocketman is a full-on musical. Rather than reserving music for on-stage performances, the characters burst into song at any moment making the film feel like a jukebox musical in the vein of Mamma Mia!. The dance numbers are expansive with dozens of extras and a pace that distinguishes the film from others in the genre. The rapidly tracking camera and organized chaos of the backing dancers give these sequences a frantic energy that aligns with John’s rapid rise to fame. There are times when the musical segments are expected, during a key emotional moment for example, but Fletcher ingeniously transitions to song in several unexpected situations. The clever transitions and frenzied choreography add cinematic flair and keep the music visually interesting.

Bryce Dallas Howard is surprisingly perfect as John’s callous mother.

The basic plot is fairly standard. It’s amazing how so many one-of-a-kind superstars like Freddie Mercury and Elton John can have their life stories boiled down to essentially the same sequence of events. A child from a humble background exhibits preternatural musical talent, but is born into a conservative family that doesn’t fully approve of their passion and desired lifestyle. The child grows into an adult that meets key partners and quickly ascends into incredible success before falling prey to substance abuse only to apologize to their loved ones and redeem themselves around the 2 hour mark. There is nothing particularly surprising about what happens in Rocketman.

Within the usual story beats, Fletcher focuses on John’s unique problem. He continually emphasizes the lack of affection in John’s upbringing with a cold, distant father and an often cruel mother. As a child, he asks his father “When are you going to hug me?” and, more than anything else, this film is about a man in desperate need of a warm embrace. His later actions, and his mistakes, stem from his lack of love and, regardless of the success he achieves, the film cuts back to images of his younger, helpless self. But Fletcher doesn’t shy away from blaming John for his decisions. His erratic moods and mistreatment of those closest to him are his own undoing and Egerton grasps his spiral out of control. Edgerton carries John’s emotional pain in his performance and brings an exceptional singing voice as well. It’s a shame that the script doesn’t explore John’s enduring relationship with his co-writer Bernie Taupin (Jamie Bell; Billy Elliot) as this is a major and unique element to John’s story.

Rocketman delivers the extravagant musical setpieces worthy of Elton John, supported by a strong performance from Egerton, but is held back by its extremely familiar plotting.

3/5 stars.

BS Reviews

Tag Archives: Billy Elliot

Wild Rose (2019): Three Chords and the Truth

Rocketman (2019): Stylish, but Overly Familiar

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