I'll reserve judgement till I see it (and I have hopes for Edward Norton as Pete Seeger) but for my money this does not look promising. And for a very simple reason.
The teenage hearththrob comes across as way -- and I mean WAY -- too goyische to be a convincing Mr. Zimmerman.
(And yeah, I know the teenage heartthrob is actually half-Jewish in real life. Sorry, but he just doesn't read Red Sea Pedestrian.)
That said -- and flame away, if you're of a mind to -- but that leads us to the real business at hand. To wit:
...and your favorite (or least favorite) biographical film based on the life of a post-Elvis solo artist or group in the popular music field is...?
No arbitrary rules, but I did say post-Elvis, so don't nominate that abominable Baz Luhrmann flick, and I also said popular music field, so don't give me any of that Bradley Cooper Maestro shit, because I don't want to hear it.
If you're wondering, my favorite remains this, which for some reason has pretty much faded from memory.
Hey -- Germs rule!!!
In any case -- what would your choices be?
And have a great weekend, everybody!!!
24 comments:
As long as you take heed that "Based On A True Story" means "Fiction", Gary Busey was fantastic in The Buddy Holly Story
"What's Love Got To Do With It."
Walk Hard - The Dewey Cox Story
To my mind, the only musical biopic that isn't pure dreck. Sorry.
There was a made-for-TV movie in '79 called Birth of the Beatles that wasn't especially accurate, but was a pretty good movie.
That Beatles TVflick was very good. Produced by Dick Clark,of all people.
Sex & Drugs & Rock & Roll, the Ian Dury biopic.
I would have to agree with Ray, Robbie, and John on their assessment of Oliver Stone's "The Doors" film! -Phil Cheese
Cocksucker Blues
rob
Rob…that’s not a bio-pic.
But if you’ve actually seen it, I’m deeply jealous.
Steve, you've never seen Cocksucker Blues?
I used to have a bootleg copy. If I can find it, I'll burn you a copy.
The music's great, of course, but if I remember correctly, the backstage stuff is more depressing than salacious.
Well, can't find my copy but check your email.
Steve, I have seen it. However I will dig into my bag of tricks and try to satisfy your requirements - that said you are stricter than my Parochial English teacher ;-)
rob
At least the guitars are about right! So often the instrument capture and energy is the last thing on the producer’s mind. If the instruments are right, I’ll finish the pic.
Okay Sister Steven I'm handling in my homework - hope it meets your criteria ;-)
Long Strange Trip - The Dead
Bohemian Rhapsody - Queen
Cadillac Records - Leonard Chess
rob
Not sure which Baz Luhrmann film you mean, because they're ALL abominable.
I'll split my vote between 'Backbeat' (The Fabs in Hamburg days) and
'The Filth and the Fury,' wherein an incisive critique of the Sex Pistols is delivered by an august British peer:
"They would be vastly improved by sudden death."
Coal Miner’s Daughter for sure.
La Bamba is maybe a little on the slick side, but quite enjoyable.
And Edith Piaf had one big hit in 1960, so I’ll smuggle in La Vie en Rose on a technicality.
rob -- I'd forgotten how great "Cadillac Records" is. Thanks for the reminder!!!
😎.
M-Sharp --
Hokey Smokes, Bullwinkle! Thanks for that Stones link!!!!!!!!!
Love and Mercy was pretty good, as was Walk the Line, and I enjoyed 24 Hour Party People.
Speaking of questionable casting, allow me to go off-topic for a moment (with apologies) and indulge in some lese majeste. I always thought Brando was miscast as Stanley Kowalski - too pretty, too vulnerable. I see Stanley as a little red-headed bully, always lifting weights.
Another vote for "Walk Hard/Dewey Cox" ... a lot more authentic than many "true story" biopics. AND a damn good movie.
Just re-saw "Cadillac Records" and thought it much better than my memory of it on first time viewing.
Timothy C. seems too shallow and dim to play Bob convincingly.
My pleasure, Steverino!
That's the first time I've seen a "Full" version. Stuff like that pops up sometimes, then it's probably deleted by the powers that be, then it's reposted laters. You just have to search at the right time, and grab it post haste.
"Control" was a pleasant surprise. I didn’t think it would be that good. One of the best biopics, imo. Done with love and care by those who were there. And not entirely a downer.
I could tell you about how I got into Joy Division but it’s kinda complicated. Briefly, it all started when I went to a record store in Glendale and bought a Stones bootleg entitled “A Tour De Force.” It was a 2-LP set on Saturated Recordworks. It was pretty fucking deluxe for the times with a nice color cover shot of Mick on stage circa 1973. The back cover was a B&W shot of Keith wearing his “Who the Fuck Is Mick Jagger,” T-Shirt circa 1975. I kinda bought it for the cover since the music had been previously released on “Bedspring Symphony,” and “Welcome to New York.” Anyway, when I was paying for the record, a guy with heavy eye make-up approached and asked me if I wanted to make a quick 500 dollars by doing a porn in the hotel across the street. I told him to fuck off. He apologized and said he thought I looked too classy to take him up. But he thought he’d give it a try anyway. He explained that he was only asking for a friend. The guy asked me if I wanted to smoke some hash with him in the back room of the record store as a gesture of peace and goodwill. He also asked if he could take me to lunch. Throwing caution to the wind, I agreed. It was the beginning of a long-term platonic relationship. Strictly music buddies. I laid down the boundaries right off the bat. He was a few years younger and was intimidated by me. As it should be. He was playing Joy Division’s “An Ideal for Living” while we smoked the temple ball hash. It was my first exposure to them and they sparked my musical curiosity. The “back room” was actually his living quarters with bed, chair, loveseat, stereo system and lots of vinyl. He had a shitload of Pink Floyd bootlegs but none of their official releases. He also had the Bauhaus single “Bela Lugosi’s Dead,” which had been getting some airplay on KROQ. I also noticed he had a Soft Boys EP and the “A Can of Bees” LP. I told him I got turned on to the Soft Boys when I heard the album while shopping at Sound Spectrum in Laguna. We both dug the shit out of it. I asked him about Joy Division and he knew all about them. They were his favorite new band. At this point Ian Curtis was still alive and all they had out was a couple singles, an EP and the Unknown Pleasures LP. I asked my new friend to spin the album. I found it interesting as well. It wasn’t long before Ian checked out, the second album came out, scads of bootlegs hit the racks and the cult came to fruition.
I generally don't like rock biopics, especially when I'm familiar with the subject. Historical inaccuracies really piss me off. Regardless, most of them are dreadful. But, for me, "Control," despite many inaccuracies, was an exception. You don’t have to like Joy Division to appreciate it. Same goes for the Germs movie.
VR
On the other hand, "Rocketman’s" suckassitude is profuse and unceasing. To be honest, I'm predisposed not to like it. I never really got on the Elton John-Cat Stevens bandwagon at the time of their emergence and fame. Cat doesn't rock and Elton is impossible for me to take seriously. I'll admit he's written some great melodies to go with Taupin's often brilliant lyrics, but, when it comes to rockin', he comes across as a puling phony. The full flamboyant Liberace bit undermined what credibility his music had.
The film lost me from the get go. Just seeing that dipshit walking into “group” in his ridiculous outfit was the tip off. I hated the film’s “musical fantasy” approach. I’d prefer a biopic that, granted some license, would at least make a valid attempt to document John’s career more accurately. Instead, we get primary school Reg singing “The Bitch Is Back.” Using songs out of their chronological sequence annoyed me. I didn’t miss the point, I just didn’t like it.
After Elton meets Bernie, the latter dreams of going to America with its wide-open spaces and the legendary Tower Records. Later, when they finally get to Hollywood for Elton’s much hyped Troubadour residency, they drive up the Sunset Strip in their limousine. Their eyes get really big when they cruise by Tower Records. Fuckin’ A, they’re living their dreams.
Uh-oh. Guess what? Tower Records wasn't there in August 1970. At the time, it was an abandoned Muntz World of Music store which went bankrupt early that year. Muntz sold tape decks and installed them at the site since 1966. They also licensed, manufactured and sold 4-Track tape cartridges. When 4-Tracks got phased out, Muntz essentially bit the dust. Tower Records later demolished the defunct Muntz store and constructed a new building on the site. It opened in time for the Christmas season at the end of 1970. At the time of Elton’s US debut shows that summer, Russ Solomon was wrangling with local government over building and business permits. Many neighboring residents and businesses were protesting its construction fearing it might attract the dreaded hippie element …. Back to the film.
On his opening night of his USA debut at the Troubadour, a nervous Elton begins his set with “Crocodile Rock” and the place goes crazy. Never mind that the song didn’t enter his sets till the Fall 1972 USA Tour. Ignore the fact that he was opening his sets with mellow songs like “I Need You To Turn To,” and “Your Song.” The musical fantasy continues to nauseate. After the show, Taupin decides to spend some time with a black groupie named Heather who’s gonna show him Paradise Cove at “the Bu” in the morning. But first they head to Mama Cass Elliot’s Laurel Canyon pad for an after-show party. Elton tags along disappointed that they didn’t go to (the non-existent) Tower Records as planned. Bernie takes Heather to the teepee in Cass’s back yard while a lonely Elton looks on from a distance. But all is not lost as he and John Reid hook up and get to the bottom of things. Naturally, Reid is much more virile and handsome than in real life.
It gets even worse after that. I absolutely hate this movie. “Musical fantasy” or not, Maxine Feibelman should have been one of the supporting characters. Fuck, she was the muse for many of Taupin’s lyrics and hence, John’s melodies. At 17, she taught those limeys a thing or two. I suppose it’s just as well she wasn’t portrayed in this awful flick. They undoubtedly would have fucked it all up.
VR
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