This is perhaps an outlier in my themed week of British costume dramas, but it’s a period piece and you couldn’t possibly say it doesn’t have costumes, so I’m including it. Obviously it’s a biopic of the life of Elton John, and it’s mounted with impressive brio (even if maybe it’s not entirely for me, I’m willing to believe it is better than the similar production the previous year about Queen, Bohemian Rhapsody, which director Fletcher took over late in proceedings).
I don’t think I’ve ever specifically chosen to listen to an Elton John album or song, but of course they’ve often been on in the background or on soundtracks and such, so a lot of them remain familiar to me. That said, the point I’m making is I’m not really in the demographic for whom this film strikes any particular chord, as I’ve never been a big fan, but I concede that Dexter Fletcher has a solid touch with a musical and this one is good fun to watch. The performances are all good, and it has some nice set-pieces, such as the one where Elton goes from almost dying to being pushed on stage, seemingly in a single sequence. The framing device — him unraveling at an addicts’ group therapy session — is rather too convenient as a way to pull the narrative through his whole life, and he does a lot of confronting his earlier self and family/friends in feverish flashbacks, but it’s a musical, so it rather trades in elevating the quotidian to a magical and surreal level, and at that it succeeds nicely.
Director Dexter Fletcher; Writer Lee Hall; Cinematographer George Richmond; Starring Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard, Stephen Graham; Length 121 minutes.
Seen at Curzon Aldgate, London, Friday 7 June 2019.
Let’s be honest, I didn’t exactly hold high hopes for this film, which at times has seemed more interested in creating brand partner synergies for commercial tie-ins, than being actually-any-good as narrative entertainment. Sadly that seems to have been the legacy of Spielberg’s (still quite excellent) Jurassic Park, though it’s hardly something it invented — just that it managed to tap into an enthusiasm for dinosaurs that remains largely unabated over 20 years on. Still, even given that, I remain confused as to why there was an ad before the film for a Lego tie-in. There was no room in the movie for the aforesaid product because it’s a 12-rated action film for a good reason (CGI-created dinosaur terror and mayhem; certainly the human characters weren’t much more than ciphers). Anyway the film’s clear product-placement winner was Mercedes-Benz, just for that smash cut to a perfectly-framed car ad angle of their vehicle after one of the kids says the line “you wanna see something amazing?” Oh to imagine how excited their execs must’ve been when they saw that. Just thinking about such a scenario really brought on some serious feels (not all good, let’s be honest); certainly it prompted more emotions than when a bunch of human dudes were eviscerated in the film (would that they were marketing executives eh).
I could go on about how this cartoonish dehumanisation of violence is an effect of the kind of corporatised culture which was surely intended as a point of satire in the original, but has long since been subsumed under the creature effects and merchandising. However, whatever baggage I might (not unreasonably I feel) load this franchise up with, the thing is that Jurassic World was quite an entertaining ride. Chris Pratt retains an easygoing charm, even if his relationship with prickly park boss Claire (Bryce Dallas Howard) remained little more than a doodle in the corner of a page credited to FOUR screenwriters. Perhaps the tenacity with which Claire manages to perform at high speed on all terrains while never shedding (or breaking) her high heels should therefore be applauded as some kind of feminist triumph, but I’ll stop short of that. Still, the kids-in-peril weren’t too annoying, while Irrfan Khan as a wealthy industralist (an heir of sorts to Richard Hammond) and Omar Sy as the French dino-wrangler were nice smaller roles, even if there was no one who could measure up to Jeff Goldblum. And on the whole the mayhem was coordinated rather well, even if it did rip off some of the setpieces almost wholesale from the original film, to lesser effect.
So for a Summer blockbuster it just about works, I just don’t expect to be revisiting it with any warmth in 20 years’ time.
Director Colin Trevorrow; Writers Rick Jaffa, Amanda Silver, Derek Connolly and Trevorrow; Cinematographer John Schwartzman; Starring Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Irrfan Khan, Omar Sy; Length 124 minutes.
Seen at Genesis [2D], London, Tuesday 16 June 2015.