You got to love it when a subject executively produces his own biopic. And even more when the subject is Sir Elton John.
Elton John is world famous and known for his outrageous performances, flashy costumes an controversial remarks. His biopic, directed by Dexter Fletcher and written by Lee Hall who wrote BILLY ELLIOT) opens with him in bright orange gear, entering a bright light, which the audience assumes is going to be a grand stage, but turns out hilariously to be the room for an Alcoholics Anonymous gathering. As the orange clad figures discusses his life, the biopic relates the story of one of the world’s best signer/songwriter from little boy to the present.
The film’s next scene has Elton as a little boy in a song and dance number that is immediately reminiscent of Ken Russell’s THE WHO musical TOMMY where little Tommy is inserted in a number called “Bernie’s holiday camp”. Russell’s TOMMY has important significance to Elton John as he had a cameo role in the film as the pinball wizard, with the popular song later performed in its full entirety by John in the biopic.
By inevitable comparison to the recent BOHEMIAN RHAPSODY (Director Fletcher was named the replacement director for BOHEMIAN RHAPSODY and helped finish that film though only Bryan Singer received director’s credit) which won 4 Oscars including the Best Actor prize for Rami, ROCKETMAN is more enjoyable to this reviewer for 2 reasons. This reviewer is a true Elton John and not a Queen fan, and so every song crooned in ROCKETMAN brings both nostalgia and joy. The film is also splashy and more daring (the sex scene that was left intact in the film, according to the Daily Mail article, compared to RHAPSODY where there were no sex scenes). The sex seen in ROCKETMAN, with John and his lover doing the nasties both butt naked in bed is sufficiently eye-opening though no intercourse is actually on display.
Both Tagor Egerton as Elton John and Jamie Bell (BILLY ELLIOT and THE ADVENTURES OF TINTIN) as his lyricist and friend, Bernie Turpin are close to perfect in their roles. Elton John has himself praised Egerton’s performance in the film. What could be a better complement? Egerton also gets the Elton John mannerisms down pat to a ‘t’.
Certain songs in the film add a certain resonance not realized by many. One prime example are the lyrics of “Goodbye Yellow Brick Road” crooned by both Bernie Turpin and Elton John. ‘….going back to the howling old owl in the woods, hunting the horny black toad, I’m going back where my future lies, beyond the Yellow Brick Road”. This segment is not only the most moving but most powerful part of the film which effectively forms the climatic moment of the film.
ROCEKTMAN which clocks just over the two hour mark reveals both the genius and demons of this talented individual. Owing to the nature of the subject, the downward spiralling of John is still glamorously displayed and neither dismal looking nor dull. One prime example is his diving in the pool fantasy sequence where John meets his boy-self at the bottom playing ROCKETMAN on is toy piano.
A few facts on his life are missing on the screen most notably his spat with Madonna and his knighthood. These would have added even more spice to the otherwise heavily layered dessert.
ROCKETMAN has been chosen as the Opening Night film for Toronto’s 2019 LGBT Inside Out Film Festival. This weekend the film goes head-to-head competition with two other blockbusters, GODZILLA 2 (Ugh!) and MA. Elton John fans around the film should (their numbers alone) make ROCKETMAN the number 1 at the box-office. ROCEKTMAN deserves to be, anyway.