Tag Archives: bohemian rhapsody

“You gotta kill the person you were born to be to become the person you want to be.” Rocketman

1 June 2019

6 Comments

[Image Source: Wikipedia]

It’s like Elton John said to Bohemian Rhapsody, “Hey, hold my (now non-alcoholic) beer. Let me show you how a biopic of a 1970s/1980s, transcendent, groundbreaking, gay (but sorta conflicted and closeted-ish) rock god should be done.”

Rocketman is transporting, joyous, heartbreaking, bonkers, and damn brilliant.

And if you love Elton John’s music but occasionally have found Elton John himself a smidge unpleasant (as I have), Taron Egerton’s bravura reinvention/translation of Elton John’s essence in the title role will give you reason to love the man again. It’s an Oscar-worthy performance that captures the sense memory of Elton at the peak of his powers while providing a very empathetic yet theatrical glimpse into the insecurity and heartbreak that fueled his greatest work.

[Image Source: Wikipedia]

As directed by Dexter Fletcher (ironically, the helmer who came to the rescue of Bohemian Rhapsody when the embattled Bryan Singer walked off the set … too little, too late alas), Rocketman is simultaneously escapist and sobering, a beautifully constructed real-life fairy tale warning us of the false promise of celebrity excess and the corrosive power of self-denial. Oh, and it’s a full-blown g-damned musical with zero f*cks given – no apology, no shame – as a movie about Elton John’s life, depicted in broad operatic strokes, should be.

[Image Source: Wikipedia]

The best songs from the storied output of Elton John and lyricist Bernie Taupin (here delicately underplayed by a loving and sensitive Jamie Bell) basically form the blueprint for a Broadway musical anyway. Consequently, re-purposing ubiquitous story-songs like “Goodbye, Yellow Brick Road,” “Saturday Night’s Alright,” “Your Song,” or “Benny and the Jets” outside a concert context as integrated narrative commentary becomes a rather effortless exercise. That said, Lee Hall’s script is a thoughtful biographical kaleidoscope, loose on facts and timeline, but laser-focused on allegory and atmosphere, incorporating Elton John’s greatest hits as if they were always meant to populate and propel the arc of the singer-songwriter’s life.

[Image Source: Wikipedia]

Of course, the costumes are divine and period-specific. I haven’t seen this many marabou feathers, platform heels, and sequins since the heyday of The Match Game. Yet, the film never devolves into camp. This isn’t a movie marginalizing nor ridiculing the extremes of Elton John’s life. This is a film expertly designed to handhold all of its viewers toward greater empathy.

When Elton fearfully confesses his sexual identity to his mother (Bryce Dallas Howard, perfectly fine, but apparently now typecast as cruel, self-absorbed hard-asses until the end of time), she responds, “I know. I’ve always known.” Yet, unlike films with lesser sensitivity toward this particular subject matter, the line is not delivered as a salve to Elton’s broken heart. Rather, it is the ultimate slight, as if she’s saying, “You’ve always been broken.” People may think they mean well with such a statement. Let me tell you, it’s not helpful.

[Image Source: Wikipedia]

Admittedly, the filmmakers lay on a bit thick how toxic Elton John’s parents might have been. In addition to Howard’s blowsy dragon matriarch, Elton has a frosty, jazz-loving father (Steven Mackintosh) who abandons the family after Elton discovers his mother canoodling with a neighbor man in a sedan parked street-side. Gemma Jones does balance things out a bit as Elton’s sympathetic grandmother, but, at times, the family dynamic in Rocketman seems like cutting room footage from the Harry Potter films of that dreadful, sweaty, sour tribe who foster young Mr. Potter.

Similarly, Richard Madden as Elton’s manager/lover John Reid devolves quickly into Snidely Whiplash mustache-twirling territory in the film’s second act. Thank goodness, Madden has such buoyant gravitas, keeping his portrayal watchable, even as the cliches mount up.

[Image Source: Wikipedia]

Fortunately, Egerton (Kingsman, Sing) is a savvy enough actor to avoid portraying Elton as a shame-free martyr, embracing the character’s petulant, rage-filled, myopic dark side … and somehow emerging ever more likable in the process. Oh, and he does all of his own singing here, acquitting himself quite nicely with the challenging material

The film is framed by Elton John’s rehab stint in the late 80s/early 90s, and Egerton does a masterful job avoiding the maudlin pitfalls such a set-up could present. Early in the film, a Motown singer for whom Elton is playing keyboards cautions him, “You gotta kill the person you were born to be to become the person you want to be.” I suspect all of us struggle with this existential conundrum in the tricky tension between our personal and professional lives, but none so dramatically nor devastatingly as Elton John. Rocketman walks the tightrope beautifully between reality and parable, leveraging the pinball wizardry of Elton John’s life as a cautionary tale for us all.

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[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

‘Lights. Camera. Cure.’ Theatrical Event Raises Over $20,000 For American Cancer Society Relay For Life

9 February 2019

4 Comments

Originally published by Encore Michigan and BroadwayWorld …

Photo Credit: Lia DeBiasi [More photos here.]

Lights. Camera. Cure. – a special theatrical event held on Wednesday, February 6, that featured classic film hits as sung by local performers at The Village Theater at Cherry Hill – was a sell-out success with a capacity crowd of 400 patrons. The show raised over $20,000 for the American Cancer Society Relay for Life Canton-Plymouth.

Producer/director Denise Staffeld of Lake Michigan Credit Union observed, “Last year, we had a vision to do a Cancer Society fundraiser that celebrated the healing power of Broadway. We sold out the house, and raised over $15,000. I had hoped this year would exceed last, both financially and artistically, but I never anticipated this. I am so very grateful.”

[View the show finale “Come Alive” here.]

Music direction was by Kevin Robert Ryan, Director of Music and Liturgy at St. Thomas a’Becket Catholic Church. Jeff Mongrain, Sonny Teodoro, and Joel Walter rounded out the orchestra. Songs included numbers from movies like The Greatest Showman, The Lion King, Willy Wonka and the Chocolate Factory, Mary Poppins, Dirty Dancing, Oklahoma!, First Wives Club, The Bodyguard, Aladdin, Quest for Camelot, Moana, Pearl Harbor, The Secret Garden, Fiddler on the Roof, The Jungle Book, and many more. 

Roy Sexton, director of marketing for the Clark Hill law firm, emceed the evening as well as performed. A published author of two books of film reviews Reel Roy Reviews, Sexton noted in his opening remarks that “film is a great unifier, helping audiences to escape the troubles of daily life and to aspire to something greater.”

The cast was comprised of semi-professional and professional talent from throughout Southeast Michigan’s theatre community: Shirley Auty, Denise Staffeld, Aimee Chapman, Christina Bair, Cathy Golden, Cathy McDonald, Caitlin Chodos, Noel Bittinger, Julzie Gravel, Bethany Basanese, Keri Mueller, Janine Creedon, Tracey Bowen, Diane Dimauro, Roy Sexton, Jeff Steinhauer, AJ Kosmalski, Bruce Hardcastle, Tim Chanko, Kurt Bowen, Tracy Neil, Carl Nielsen, Anna Nielsen, and David Dilsizian.

[Enjoy the cast’s take on “carpool karaoke” here.]

Kelvin Elvidge served as sound designer/engineer. Lia DeBiasi was the production’s stage manager, and Daniel Pocock assistant stage managed. There were special appearances by Tom Cassidy and Canton Township Supervisor Pat Williams opening remarks by Kim Scartelli, and event support by Megan Schaper (American Cancer Society) and Tammy Brown and Marion Rozum (Chicks 4 Charity.

Before the performance, there was a red carpet reception, with silent auction and desserts. A Facebook Live pre-show was hosted by Canton Chamber of Commerce President Thomas Paden and Stephanie Tierney. [View video here.]

American Cancer Society Community Development Manager Megan Schaper noted “This event truly embodies the motto attacking cancer from every angle. I was in awe of the show and I can’t wait to see and support what this show inspires these communities to do next.” Schaper supports Canton, Plymouth, Westland, Wayne, Ypsilanti, Livonia and Redford.

NOTE: I had an amazing time working on LightsCameraCure – honored to have been part of this exceptional evening where over $20K was raised for American Cancer Society. Thank you, Denise Staffeld and Kevin Ryan, for the opportunity. It was an incredible experience. This cast was divine!

Thank you to my sweet friends who came out and supported: Nikki Bagdady Horn, Lauren Crocker, Colleen McConnell Fowler, William Fitzgerald (longest journey – from CHICAGO!), Ashley Kryscynski, MSW, Michelle McAllister, Melissa Francis, Lori (Rundall) Compagner, Gabby Rundall, Pattie Curtis, Jim Paglino, Leo Babcock, Mary Newton, Nico LaFoudj, Christopher Tremblay, Ed.D., Sheri Hardcastle, and anyone I missed. ❤️

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

 

#CarpoolKaraoke: “Lights, Camera, Cure!” edition

31 January 2019

4 Comments

Enjoy our version of #CarpoolKaraoke for #LightsCameraCure. In part one, my carpool buddies Bethany Basanese​, Aimee Chapman​, and I take on #JustinTimberlake, #MoonRiver, #CelineDion, and #Detroit’s own #Eminem. Thanks to Lia De Biasi​, our director, for figuring how the tech on this and to our cabaret queen Denise Isenberg Staffeld​ for the idea! 🎶

Video: https://youtu.be/qGpplBGhJiQ

“Lights. Camera. Cure!” is NEXT WEEK, benefiting The American Cancer Society – Relay For Life of Canton and Plymouth. Tickets are going quickly! Order yours today! Purchase here.

“Lights. Camera. Cure.” is a special theatrical event to be held Wednesday, February 6, 2019 at 7:00 p.m. (doors open at 6 pm) – a musical fundraiser featuring classic film hits as sung by local performers at The Village Theater at Cherry Hill. Learn more here.

#CarpoolKaraoke part deux with the divine Cathy Skutch McDonald and Jeff Steinhauer … some #BarbraStreisand / #LadyGaga #StarIsBorn magic, #AmericanGigolo ( #CallMe ), #SpyWhoLovedMe, and #SaturdayNightFever

Video: https://www.youtube.com/watch?v=RYP2YlB_ybg&t=60s

Here we are. The END of our #CarpoolKaraoke TRILOGY. Me and the adorable and talented Caitlin Chodos. Some #Xanadu. Some #WillyWonka / #VerucaSalt. And a whole LOT of #BohemianRhapsody.

Video: https://youtu.be/lQRRvwstYPA

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“It’s America: They’re Puritans in public, perverts in private.” Bohemian Rhapsody (film)

4 November 2018

18 Comments

[Image Source: Wikipedia]

I wanted to love Bohemian Rhapsody. I really did.

One of the first 45s (remember those?) which I bought with my own money was Queen’s “Another One Bites The Dust,” and I wore out many a needle on my little Raggedy Andy record player listening to their day-glo Flash Gordon soundtrack on endless repeat.

That said, is there a rock group of the past 40 years that is more rife with the potential for gonzo, heartbreaking baroque cinematic poignancy than Queen?! Lead singer Freddie Mercury’s out-sized public persona and haunted inner turmoil are ready-made for the kind of swirling epic that is both audience catnip and Oscar bait this time of year.

Alas, embattled director Bryan Singer is no Milos Forman, Stanley Kubrick, or, heck, Baz Luhrmann, and, in his hands, Bohemian Rhapsody becomes a serviceably entertaining yet never transcendent paint-by-numbers affair. A well-intentioned, well-acted Wikipedia entry.

Much has been written about Rami Malek’s transformation into Freddy Mercury. I’m not sure he quite lives up to the hype. When bandmates Brian May and Roger Taylor (a sparkling Gwilym Lee and Ben Hardy) steal scenes from Mercury, you may have a problem. (IRL, May and Taylor are producers on the film. Go figure.) Malek does compel as a little-boy-lost caught between cultures in love with his voice but at odds with his sexuality and his ethnicity. Yet, he never inspires in the way the real Mercury could with the mere flick of an eyebrow. Malek’s limpid banjo eyes and cumbersome prosthetic teeth are more static Al Hirschfeld caricature than true character development.

[Image Source: Wikipedia]

The film is at its playful best when detailing the creation of Queen’s biggest stadium thumpers like “We Will Rock You,” “Another One Bites The Dust,” and the titular mock-opera tune. The ensemble is clearly having a ball playing dress-up and re-enacting Queen’s free-wheeling creative process. There is a fun cameo by Mike Myers as a small-minded producer baffled by the neo-classical camp charms of “Bohemian Rhapsody.” (A sly wink at Myers’ Wayne’s World movie which introduced a new generation to the number, rocketing it up the pop charts once again.)

[Image Source: Wikipedia]

The film is less successful when it addresses Mercury’s challenged and challenging personal life. The film wants to paint this singular misfit as an everyman, a libidinous Warholian svengali for the Jock Rock crowd. It just doesn’t quite work, alas. At one point, the band opines, “It’s America: They’re Puritans in public, perverts in private.” One wonders if that notion didn’t hang up the filmmakers as well.

There is a gut punch of a movie in Mercury’s life, a celebratory cautionary tale about creative spark, sexual impulse, and uninhibited expression. Unfortunately, Bohemian Rhapsody ain’t it. A cheap, slight K-Tel hits collection when a messy, overlong box set was required.

Oh, and, Sacha Baron Cohen, I’d still like to see your version of this story.

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[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.